; See ake 
us Socee ses 


Sees : ; : aa ee = 2 : 


= 


a8 


se 
Sera 


Seay Sola 2S: aS 
: Z g : SseSasesce= 
ees es 


62 | 
ff 


i .) 


i} 
*, 


a 
A 
a ere ea 


lid 


rf 
ale ts 


Vie 


Se ee 
sa 


yh a 


Ss 


ps fae 


4 
Ha 


Sos hese eee ae 


ht 


ae 


tak 


SS 


Spat nae 


¢ 
TSA Msuietoa it 
ie Liiniher 


ci 


“i 


eae 


$5 
mn ANY shag ait 


Ba Rh aI 
ADS pti 


iS 


t 


ie aif) 

















—— 


i 
. 
. 
f 


ee 


Heh frist 


ee 


ch 
Hw 





AS dees 
\ ; 
WOM 
PNA: + ‘ats 
nk \ ce i, 


Me ANTES f ipsa a 
at ts wae Why ‘ i ; vin : ‘ bt ‘ij ’ se *, 
ey.) we ; F aap ‘, 


an 









Church Music and Wor 


A PROGRAM FOR THE CHURCH 
OF TO-DAY 


BY 
EARL ENYEART HARPER 





THE ABINGDON PRESS 
NEW YORK CINCINNATI 


Copyright, 1924, by 
EARL ENYEART HARPER 


All rights reserved, including that of translation into 
foreign languages, including the Scandinavian 


Printed in the United States of America 





To My WIFE 


Digitized by the Internet Archive 
In 2022 with funding from 
Princeton Theological Seminary Library 


== 





vet | 
Ny ON, 


https://archive.org/details/churchmusicwo rshOOharp | 


: ’ te 
Br ; ; i ap pat is 4 aa 2, b 
/ ; : : ye yates tea a | 


CHAPTER 


CONTENTS 


FOREWORD fore ne Lue Ue CRU, | 
ATTHORISLERERACH ATE Cee pe 
ud I. Tue PROBLEM AND THE NEED........... 


A. 
B. 
C. 
DY: 


EL SV OME Vi lS eRe ee iki ea nO One NOR OE 


A Practical Program Needed... ......)..... 
A Program of Aesthetic Worth Needed.... 


E. A Program of Religious Spirit Needed..... 
¥F. The Problem and the Need! 2.220778) 22. 
II. Music AND Reticion—Their Association. 
Aco Historical: Outlined ies pare eae eee ae 
SOULEDLIVYAT Water ee dc er ke eh a eh pate ee eae 


,/ Ill. Music anp Reticion—Their Relationship. 


. Music is a Means of Spiritual Impression 


Sie XDTCSSION Mes eee tees: eee. ane 


B. Music Prepares the Way, Mood, and Atmos- 
phere for True Sermonizing............ 

C. Music Attracts Congregations and Affords a 
Means of Ensemble Worship........... 

~D. Music Is an Agent of Religious Education. 
E. Music Brings About Spiritual Unity of 
Christians of All Times, and in Any 
Particular resent aime sccis sok. oe 

LIN IMA EV RS eae) ane taal, Reet ieeste els, fe aia en 


IV. Tue Musicau LEADERSHIP OF THE CHURCH. 
A: 
B. 


C. 
D. 


E. 
F. 


The Minister as Leader of Music and Worship 
A New Profession—The Ministry of Music 
andAVWorship orate eee at ete bie 
Qualifications of the Director of Music and 
WOPalii py ape tet econ rss tate Cone eee ket, 
The Question of Active Congregational 
DCACCTSDID srry etek te ted iw che ea ao acts a's 
Pe mehnrcnerga nigh wre see vial. sate. 2 oe 
Leadership Immediately Available......... 


6 CONTENTS 


CHAPTER 


/ V. CONGREGATIONAL SINGING. ............. 


A. Congregational Song Rehearsal............ 
B. Five Principles of Congregational Singing. . 
1. United (and Unanimous) Singing. 2. 
Tone Production. 3. Intelligent 
Singing. 4. Musical Singing— 
(1) Hymn Interpretation; (2) Dis- 
tinct Singing of Chords and Syl- 
lables; (3) Accent and Rhythm. 
5. Worshipful Singing. 


Summary 


@voezxaeececevoerevreveeeoese eevee erer ee ee see ee ee ee @ 


vw 
VI. CONGREGATIONAL SONG REPERTOIRE 


A. Choosing a Hymn Book 
~ B. Variety and Inclusiveness in Hymn Selection 


C. Congregational Song Repertoire for One 
Season 


eovreeereeevreese eevee eeese sr eeeee ee @ 


S VII. Cuorrs 


A. The Use of Choirs in the Church of To-day. . 
B. Choral Organization 
C. Financing the Choirs 


oeeere ere eer eeer ee seeoee 


oecereseeceereer ee ereoe eee ees 


VITL: Tae JUNIOR. CHOLRG ik ie eee 


A; Method ‘of Organization? 4) ..2. 6. 24 en. 
B. Membership Requirements ............... 
GO; Rehearsal 050 Sanaa ae este ee nae 


1. In Singing. 2%. In Musical Literature. 
3. In the Progress and the Sig- 
nificance of the Service of Worship. 
4. In the Meaning of the Sacra- 
ments. 5. In Appreciation of Art. 
6. In Hearing Music. 7. In Famil- 
iarity with Good Music and Worth- 
while Hymns. 8. In Familiarity 
with Good Secular Music. 


E. Technique of Musical Instruction 


eeceoeoneevee 


CONTENTS 7 


CHAPTER PAGE 
IX. Tue IntermMepiateE Cuor—With Reper- 
toire for Junior and Intermediate 


CHOIrPs eRe Peete ee eM des Cn 149 
A. Membership Requirements................ 149 
DP aLDITECUIOUN Re ot rida tics nie ey hilt weld ery 150 
CROLNSEPUCTLON OT Cw Iter ssi clon natvers cracd Wie 151 
D. Use of the Intermediate Choir............ 152 
E. Repertoire for Junior and Intermediate 

SOROS es etme men Uae ek eos very oleae ate 153 


X. Tor Youna PEoOpPLE’s CHORAL SOCIETY... 161 


DET LARD ENTOR  OHOLR a ikiste a nist she Loko na tees 164 
Ace MEMDEIShIDA kts cate ch a yum araniatae sae Phe ee 164 
Bee Rehearsal (eco cerca ie utece kpc ane ae 164 
Ge Direction Withi baton sd wee ees 166. 
D. Personal Requirements of the Senior Choir 
INLGm bers cued eed ote cet ne nee 169 
Er the solo Quartet. (Pct es Cai tiercee ten nee e 172 
F. Special Services of the Choir.............. 175 
Ga Socialwiifewot the Choirs fon 26) wore 177 
XII. Coorrrative Cora Errorts......... 180 


A. Actual Experiences in Cooperative Efforts... 187 


1. The Norumbega District Hymn Fes- 
tival. %. Greater Boston Federa- 
tion of Church Cooperative Efforts 
—(1) Lenten Services; (2) Annual 
Memorial Field Day Service; 
(3) Union Thanksgiving Service. 
3. Progressive Efforts at Conven- 
tions, Conferences, and Institutes— 
(1) The Ohio State Baptist Assem- 
bly; (2) The Asbury Grove As- 
sembly; (3) The Massachusetts 
State Sunday School Convention; 
(4) Lake Chautauqua Summer 
School; (5) The International 
Christian Endeavor Convention 
at Des Moines. 


Re EMLUT ERE OSS DiLtles ect uiinae okie oie Se oe 209 


8 CONTENTS 


CHAPTER PAGE 
XIII. Miscenzaneous Marrers or Frnau Con- 
SIDERATION SHG: sie atte nies tee gPetele oom — 211 
Ave Orchestrasansthe, Churcliy ment ca sa hie ns 211 
B. Brass Bands in. the Church. .....:........ 214 
Cr Vestments one cisions © etsahts acer eer ak sates cote 216 
D:. The: Choir Room. ae cee ee ae 217 
E. Instrumental -Equipmentae. see ene 218 
F. The Choirs as Field for Evangelism........ 220 
APPENDIX 
I. Congregational Services of Music and Worship 
With: Choral Geadership so... eae Q25 
II. Choral Services of Music and Worship With 
Congregational Participation............. 265 
III. Programs and Services for Festivals and Spe- 
claliOceasions fue ee ee 293 


LV... Bibliography iy Saar ee ee 321 


FOREWORD 


OF all the fine arts in the service of the church, 
congregational singing, big brother of them all, 
receives scant attention. Luther wrote hymns 
for his people, that God might speak directly to 
them through his word and that they might 
directly answer him through their hymns. John 
Wesley was a master mind in the organization 
and administration of hymn singing and the 
propagation of the new movement through hymn 
books and song tracts. Lowell Mason, the father 
of church music in America, tuned up new areas 
all over this fair land of ours through singing 
schools, through people’s institutes, through choral 
festivals. At all times during the Mason regime 
the urge was to sing; sing, Americans, sing! 
During the war period we did indeed sing and 
carried to consummation Walt Whitman’s line— 
“T hear America singing.” But since 1919 we 
have settled back into America’s new-old ways— 
that of buying her music, clapping it on and off 
the stage, or grinding it out to the corrugated 
patterns of Camden, New Jersey. We are be- 
coming atrophied through the deadly blight of 


spectatoritis—looking on, not participating; being ‘ 


mildly entertained, not joyously creating. The 
Christian Church in particular in seeking redemp- 


tion from the inert and songless hours of public 
9 


Fa ooh 


- 


ne ee 


10 FOREWORD 


worship (“How tedious and tasteless the hours!’’) 
looks for outside aid to a new organ or a new 
hymnal or a new precentor or a new music com- 
mittee. It is hoped they will turn the trick of 
transforming painful silences into shouts of praise 
on the part of God’s people. 

However effective these agencies may be, the 
church should rekindle her inner fires, using the 
old hymns, the old organ, the old leadership, 
the same time schedules, but give new content, 
new spirit, a renewed consecration to the holy 
psalm book or hymnal, and to the truth that 
God is honored in his people’s song, he is wor- 
shiped in praise and prayer of hymns, and his 
children go to their daily tasks with a smile, with 
stout hearts, and with the will to do, because song 
is reborn in the heart and throat of man. Hymn 
singing should become glorified through new 
methods, new programs, new relationships, a 
flood of information and inspiration about texts 
and music, writers and translators, and new 
opportunities for congregational song rehearsals. 

Mr. Harper has done just this in his own church, 
in greater Boston and in convention gatherings 
throughout the Union. He zis hymn singing come 
back to life, and once sitting under his leadership 
the thoughtless minister, superintendent, or chor- 
ister will never again act slightingly toward hymns 
or misuse hymn stanzas for packing material, ex- 
celsior, time fillers. 

Another equally important fine art is the 


FOREWORD at 


special music of choir and orchestra, glee club and 
“quartet, majestic pipe organ and singing tones 
of a good piano. Here, again, the church in 
America has followed a wrong lead—the ubiqui- 
tous quartet choir, a distinctive American insti- 
tution. Exclusive professionalism of this sort 


| 
( 


discourages volunteer choirs of adults and children, | 


your boy and the deacon’s daughter, from ever 
becoming Levites, set apart in white vestments 
at the east end of the altar, for the service of 
worship through song. ‘The American child is 
to-day receiving magnificent training in orchestral 
and choral music, in the classics of all ages, 


through the public schools and federations of va-— 


rious names. Beethoven is becoming a household 
word. But this educative process is far from a 
listening process, a supine saturation without cre- 
ative skills. Willie makes his own music, he plays 
the Schubert unfinished symphony in the gram- 
mar school orchestra, he learns the French horn, 
the oboe, the violin tone, and through them com- 
munity duty or team work necessary to build the 
total orchestral tone. To sing the ‘‘Messiah”’ from 
score is to come close up to a master and his utter- 
ance and _ to be converted to better living by this 
intimacy with the Bible and oratorio inspiration. 
The quartet has its place in church music but 
it is a small sector only of the total musical pro- 
gram of any well-rounded church plant. 


The volunteer adult choir, the girls’ choir, the — 


boys’ choir all await organization in the parish 


12 FOREWORD 


of the living church. Mr. Harper has done this 
well in his own parish. They said, “It can’t be 
done,” “No children available,” “No extra hours,” 
“Jumbled choirs whisper,” “Sing off the key,” 
“Are not comfortable to look at,’ “Ofttimes 
become the war department of the church.” 
What indictments on the church and its puerile 
methods with childhood and youth, when the 
public_schools.of- the United~States-every .day 
refute these statements! Youth of America, you 
are the singing hope of the American church. . 
Come back to the church. We will use your skill,_ 
your love, your ambition to achieve through 
choirs, orchestras, festival programs, thorough- 
going organization_and_drill, appealing and high 
grade music, perfect and worshipful performance. 
Other fine arts, such as drama and pageantry, 
and the movies and still or stereopticon picture, 
are less vital to the life of the church, the worship 
of Almighty God, the redemption of the youth 
and childhood of to-day. This timely book will 
hearten the sister arts, used day in and day out, 
of congregational singing and exploring the 
riches of the hymn book, and the special music 
of the choir, quartet, ‘soloists, orchestra, organ. 


When wilt thou save the hymnal, Lord, 


O God of music, when? 
Not artist’s vogue or quartet mode, 
But singing hosts of men. 


H. Aucustine Smita. 
Boston University, February 12, 1924. 


AUTHOR’S PREFACE 


Ir there is any justification for giving this work 
to whatever public may be interested, it is that 
of practical experience and consistent experimen- 
tation. The principles and theories herewith 
presented have not only been applied and tested, 
but they have very largely grown out of experi- 
mental practice. The organization recommended 
has been effected and is successfully functioning. 
The repertoires, programs, and services have been © 
privately_rehearsed and publicly presented, some 
of them many times. 

The writer has a strong conviction that through 
progressive educational development the music 
and worship of the Protestant Church may not 
only be made more satisfying and attractive, but 
that the spiritual consciousness of the people may 
be deepened, their lives enriched and made hap- 
pier, and stronger ties of fellowship wrought than 
in any other way. 

Occasional and spasmodic efforts will not ac- 
complish these results. Ministers and laymen 
together must consider the whole subject as one 
worthy of serious thought. In the light of such 
experiments as have been made they must pro- 
ceed to secure or develop competent leadership, 
effect complete organization, and inaugurate con- 


structive programs of educational, artistic, and 
18 


14 AUTHOR’S PREFACE 


religious worth, to the end that the desired results 
may be attained and conserved. 

This book, while not written as giving a factual 
account of efforts made or being made, is never- 
theless based upon a program worked out along 
the lines indicated. 

Words of deep appreciation and sincere thanks 
are due many people for invaluable assistance 
rendered in developing the program itself which 
forms the basis of this work, and in preparing 
this book for the press. Particularly should be 
named Professor H. Augustine Smith, head of the 
department of Fine Arts in Religion at Boston 
University School of Religious Education. He 
has given counsel and advice, has opened the way 
to opportunities for experience and experiment 
in many great religious conventions, conferences, 
and institutes, and has himself freely contributed 
to the repertoires, services, and programs incor- 
porated in this work or in the Appendix. 

Clara Lieber Harper, wife of the writer, through 
loving counsels, assistance in the work of preparing 
and directing programs of music and worship at 
home and abroad, through bringing her soloist’s 
art to the service of Christ and his church at every 
time of need, through expert direction of Chil- 
dren’s and Young People’s Choirs, and especially 
through constant frank and fearless criticism of 
her husband’s principles and methods of pro- 
cedure, has rendered such service as can never be 
adequately acknowledged nor repaid. 


AUTHOR’S PREFACE 15 


To these names must be added those of a host 
of other men and women, religious workers and 
musicians, leaders in churches, conferences, con- 
ventions, institutes, church federations, Sunday 
School Associations, forums, conservatories of 
music, universities, and even in civic offices, who, 
generously and effectively, have opened the way 
for presentation of principles and application of 
methods in public gatherings of almost every 
conceivable type, secular and sacred, great and 
small. Thus they have made it possible for the 
writer to have the benefit of an invaluable body of 
criticism, both favorable and adverse, from men 
and women looking upon the work from innumer- 
able different viewpoints. 

One of the very greatest debts of gratitude is 
owed to the official board, the members of the 
four choirs, the congregation and the friends of 
Centenary Methodist Episcopal Church, Auburn- 
dale, Massachusetts. Their friendly cooperation, 
their loyal devotion, their generous personal and 
financial support, their quick responsiveness to 
every practical suggestion for development of 
their church program of service and inspiration, 
in connection with the music and worship or any 
other phase of religious endeavor, have inspired 
and strengthened their pastor times without 
number. 

A word should be spoken in this preface con- 
cerning the personal attitude of the writer to- 
ward the whole program of the church and the 


16 AUTHOR’S PREFACE 


place music and worship has in it. He is a min- 
ister of Christ, not a musician and not a “specialist__ 
in the field. of religious education. He simply 
believes in a balanced program of church work 
and service which gives adequate emphasis, and 
support to every legitimate life value, economic, 
physical, recreational, social, intellectual, zsthetic, 
and, in all and through all, the moral and spiritual. 
But he believes that the average church will not 
attain a truly balanced program until it stresses 
music and worship much more emphatically than 


. 1t now does. 


An earnest personal desire actuates the writer 
in all this work, aside from that of presenting a 
great problem and a consideration of its solution. 
That is to put one hand in that of his brother 
minister, and the other in the hand of his brother 
Christian servant, the church musician, and to 
bring them more.closely together. It would be 
a wonderful thing if ministers and musicians in 
the church of Christ could be united in conscious- 
ness of cooperative Christian ministry and service, 
each with a full and sympathetic understanding 
of the other’s problems and purposes, and of the 
possibilities of mutual assistance and inspiration 
in carrying on the work of building Christ’s king- 


dom on earth. 
Earu ENYEART HARPER. 


Auburndale, Massachusetts, 
January 1, 1924. 


CHAPTER I 
THE PROBLEM AND THE NEED 


A. Two Evits 

One of two grave evils inheres in the musical 
program of the average Protestant church. In 
many churches an organist is engaged, a soloist, 
quartet, or possibly a small choir employed, and 
the officials, Music Committee, perchance the 
pastor himself, feel that every obligation is met, 
all responsibility discharged. _No consideration 
whatsoever is given to the development of the 
musical and religious endowments of the rank and 
file of the church and parish membership. The 
children are not trained to sing and worship; the 
young.people are not acquainted with the rich 
musical and liturgical literature of the church; 
the adults do not have the errors of their ways in 
congregational song and public worship pointed 
out to them. There is no educational effort, no 
progress, no development. Large amounts of 
money are expended without obtaining perma- 
nent enrichment of the lives of the people or per- 
ceptible improvement in the services of wor- 
ship. 

On the other hand many churches organize 
volunteer choirs, engage song leaders, and adver- 


tise “Special Music,” “A Big Sing,” or a “Bright 
17 ; 


18 CHURCH MUSIC AND WORSHIP 


Service of Song,” hut low standards are accepted, 
both as relates to the material used and to the 
method of presentation. The great music of the 
church is never rehearsed by the choir. Someone 
in leadership has an idea it is too difficult, or that 
the congregation will not appreciate it. Instead, 
little, sentimental, cheap songs and anthems are 
rendered by the choir Sunday after Sunday. 
Kven these are poorly sung because, in the absence 
of any artistic or educational ideals, the choir is 
not properly trained nor the music effectively 
interpreted. 

As regards the congregational singing of these 
churches, the only good word that can be spoken 
for most of it is that a kind of superficial enthu- 
slasm is stimulated. The song leader, sometimes 
a gifted and intelligent musician, conscious enough 
of the enormity of his artistic offense, follows the 
advice and dictation of a pastor or music com- 
mitteeman who realizes neither his artistic nor 
religious offense, and gives out to the people songs 
of no worth whatsoever, trashy jazz as to music, 
banal sentiment and cheap rime as to text. 

When there is brought into the leadership of 
this already bad and degrading program a song 
leader who is no musician, but a kind of cross 
between a circus clown and a college-yell leader, 
and when there is placed at the piano as accom- 
panist a trickster who specializes i in what someone 
has fittingly characterized as “dives and upper-: 
cuts,” in scales, arpeggios, glissandos, and synco- 


THE PROBLEM AND THE NEED 19 


pations, then has the musical service of the church 
sunk to the uttermost depths. It is irreverent, 
antagonistic _to any true religious thought or 
worship, disgusting to those who appreciate 
artistic qualities in a service of song and decent 
orderliness in worship; and sometimes in spirit 
and execution it amounts almost to_blas- 
phemy. 

This severe indictment is made thoughtfully 
and regretfully, and in the light of extensive 
observation and experience. The facts which 
draw it forth should challenge every Christian 
leader and minister, every Christian school, 
college, or seminary, and every convention, con- 
ference or institute of Christian leaders and 
workers, to make a careful appraisal of the con- 
ditions with which they are confronted, or which, 
perchance, they are tolerating or even approving, 
and to take effective action to change these con- 
ditions for better. Only spiritual dullness or 
indifference can leave any Christian leader or 
worker unimpressed with the need for a genuine, 
constructive, educational program of church music 
and worship that shall call the church back to 
reverence and earnest religious thought, and that 
shall develop in the lives of children, young 
people, and adults a spirit and a technique con- 
ducive to true worship and uplifting song—wor- 
ship given expression in worthy music and ritual, 
music and ritual that is permeated with the 
atmosphere and spirit of worship. 


20 CHURCH MUSIC AND WORSHIP 


B. Tue Tworotp NEED 

On the one hand there is need for a program of 
music and worship that shall touch the hearts 
and lives of all the people. The formal service 
in which the congregation sits passive, inactive, 
and unmoved is powerless and ineffective. The 
- potential capabilities of the people of such a 
congregation, dormant and undeveloped, cry out 
in a kind of silent accusation that the church has 
failed to render them one of the greatest services 
possible—inspiration, exhortation, and training 
to the end that congregational and _ choral 
song and worship may be developed and per- 
fected. 

On the other hand there is.need_for a program 
that shall espouse the very highest ideals of music 
and art, of ritual and liturgy, a program which shall 
bring the people to comprehend, and to actively 
and enthusiastically use, the great means and 
instruments of religious worship handed down 
from generation to generation. Instruments and 
means emanating from the greatest minds and 
most reverent hearts of the ages—hymns, anthems, 
chants, responses, antiphons, rituals, prayers; like- 
wise dramas, pageants, processionals, pictures, 
paintings, sculptured work; even temples and 
buildings which manifest the highest inspirations 
of the architect. 

On the one hand the people must be inspired 
and trained to make personal use of the means of 
worship. 


THE PROBLEM AND THE NEED 21 


On the other hand the highest ideals, religious 
and esthetic, must be insisted upon. 


C. A PracticaL PRoGRAM NEEDED 


Whatever program may be proposed must be 
practical for general adoption. It must take into 
account the technical deficiencies of the great 
majority of the people in the congregations of 
our churches and must state its principles and 
teachings in terms that can be understood and 
comprehended by all. It must be a program 
which can be contracted and applied in part in 
the rural or village church. It must be capable 
of expansion to serve the interests and needs of 
the city church where membership and congre- 
gations number many hundreds, possibly thou- 
sands. It must be a program which can be 
applied in principle at least in the great confer- 
ences, conventions, and institutes of churches and 
religious organizations, whence impulses to new 
and better religious endeavor are sent broadcast, 
and where leaders of local church activities come 
to learn new methods and new principles. 


D. A ProGcrRam oF ArstHEeTIC WortH NEEDED 


The Church of Christ has a very great_respon- 
sibility to put the stamp. of its approval.upon 
good things only. In every realm of human life 
and endeavor this is true. Jesus came that 
people “‘might have life and have it more abun- 
dantly,” and it is true to his spirit and to the best 


22 CHURCH MUSIC AND WORSHIP 


discoverable impulses of Christian teaching every- 
where and in all time to state that this applies in 
the realm of esthetics as well as elsewhere. If 
there ever was a day when the Christian Church 
conceived its mission to be the salvation of a soul 
which it understood to be an “‘abstract ‘something, 
we know not what,’ apart from actual bodily, intel- 
lectual, sesthetic and even moral interests” of 
life, that day has gone, deservedly gone for- 
ever. The Christian Church to-day must see its 
duty to save men whole, to rescue them from.low 
ideals and stunted development in every phase of 
lites aer ye 

And the church is increasingly recognizing 
this fact. It is rather clearly comprehended 
to-day that men cannot be spiritually saved nor 
truly served through a church which countenances 
poverty, unfair and inconsiderate treatment of 
employees by employers, or wages insufficient 
for a good living. The church of to-day is inter- 
esting itself in the economic well-being of men and 
women, studying and striving to the end that it 
may be a means of freeing them from the spiritual 
burden and depression of poverty, want, and in- 
justice. 

So in the realm of physical health the church is 
seeking to serve and save men by means of hos- 
pitals, homes, health camps, gymnasiums, and 
training in athletics and calisthenics. The church 
would be untrue to its full mission if it preached 
a salvation that did not include deliverance of 


THE PROBLEM AND THE NEED 23 


the people from bodily weakness, imperfection, 
suffering, and disease. 

The development of a religious profession of 
recreational leadership manifests the consciousness 
of the church of to-day that it must seek to help 
man develop his play instinct. 

The Sunday-school kindergarten party and the 
espousal of a great world-wide fellowship for 
righteousness, political and social as well as reli- 
gious, are alike signs that the church realizes it 
has a responsibility to seek to save men from too 
meager association and fellowship. 

~The schools and universities of the church, the 
sermons preached from every pulpit exhorting 
the young to attend the schools of higher educa- 
tion, the influence brought to bear that better 
books may be read, the interest of the pulpit in 
philosophy, psychology, science, and _ literature, 
the ardent effort to better the educational 
standards of the church school—all these things 
are indicative of a consciousness on the part of 
the church that the “more abundant life’ involves 
development..of.the intellect. 

The church is avowedly and manifestly inter- 
ested in and concerned about the welfare of men 
in matters economic, physical, recreational, asso- 
ciational, and intellectual, to say nothing of the 
deeper matters of moral and spiritual import. It 
seems that Christian idealism will not be con- 
tent with anything short of the highest attain- 
able standards in these realms of human life and 


24 CHURCH MUSIC AND WORSHIP 


experience. People are to be led to more and 
more abundant life until they have come, under 
the tutelage of the church, to the most abundant 
life possible. 

And yet, evidently, there are Christian leaders 
who feel, and also churches, and even church 
schools, that feel that the Christian religion has 
no responsibility in the realm of art. Their 
attitude bespeaks.a_belief on their part that men 
may not only be suffered to lose their lives esthet- 
ically and still be spiritually saved, but that the 
Christian Church may at one and the same time 
be an active agent of damning them esthetically 
and saving them spiritually. Witness the cheap 
and vulgar services of music and worship already 
referred to; witness the spirit encouraged in the 
so-called “Praise.Services” of the conferences 
and conventions of the church, especially where 
young people, most susceptible of all to such 
influences, are involved—a spirit of “hip, hip, 
hurrah,” of noise, and sensuous excitement, 
ugly-colored froth and foam with nothing clear, 
deep, nor profound underneath; witness the 
crass advertisements of some churches in our 
cities and some churches in the country; witness 
the entertainments, plays, and would-be concerts 
given under religious auspices; witness the failure 
of the church on every hand to instruct its people 
in the great music, art, sculpture, architecture, 
and literature of religion; witness all this and then 
hear those who are responsible for it solemnly 


THE PROBLEM AND THE NEED 25 


asseverate that it is all in the interest of saving 
mankind. 

This is putting the stamp and seal of Christian 
approval upon that which is really bad. It is 
teaching the people under the auspices of that 
institution which should stand for the most per- 
fect life attainable, that esthetic development 
and true culture have no place in Christian life. 
It is a dark stain upon the soul of the church. 

The writer does not forget that the world owes 
to the church the very greatest imaginable debt 
for. nurturing, conserving, and developing all 
true_art.. He does not forget that such a regal 
art as music, for instance, was, during the most 
vital periods of its development, entirely de- 
pendent upon the Christian Church for financial 
support, for the personnel of its leaders, and for 
a field in which to practice. He does not forget 
that many churches to-day stand for the highest 
and truest things in art, nor that our church 
schools provide conservatories of music and 
schools of painting, sculpture, and architecture 
where the very highest ideals predominate. But 
neither can he forget the things he has seen and 
suffered in churches, conferences, conventions, 
and institutes, to say nothing of seminaries, 
preachers’ assemblies, and even schools of reli- 
gious education throughout the country. 

It is.time for the church to realize that she 
cannot consistently preach “‘more abundant life’ 
and neglect man’s esthetic endowment. It is 


296 CHURCH MUSIC AND WORSHIP 


time for the church to awaken to the fact that 
she is an unconscious. agent. of evil when she 
allows herself to espouse, in reference to Sunday 
services, morning or evening, in services of wor- 
ship and song, whether im revivals or young 
people’s gatherings or elsewhere, any kind of a 
program that does not help to lift men and women 
to the level of their best, zesthetically and artis- 
tically. | 


E. A Procram or Reuicious Sprritr NEEDED 


It will not do for any lover of art to conclude 
that the time has come or ever will come when the 
Church of Christ should become a conservatory 
of music, a studio for teaching and displaying 
painting, or a school for instruction in the method 
and technique of any «art whatsoever. 

The church should have a high regard for the 
standards and principles of art, should establish, 
maintain, and support schools where art may be 
studied and taught, and should urge her people 
to grant all true art an opportunity to bless and 
inspire them to the fullest possible degree. But 
the church is not interested in art primarily for 
its own sake. Her interest in art, and in every 
other subject of human study and thought, is 
primarily for life’s sake. Or, if we make the 
term “religion” to have as broad scope and as 
full meaning as is the tendency in present-day 
thought, we may say that the church is interested 
in art primarily for religion’s sake. 


THE PROBLEM AND THE NEED 27 


After all, the Church of Christ is primarily 
interested in developing man’s religious endow- 
ments, in providing him with motives that shall 
drive him on, and guide him aright, in his life 
and work... And it teaches him that when he has 
developed every endowment of ordinary life to 
the full, spiritual life still transcends any experi- 
ence he has had, any development he has attained. 
The church continually challenges him on to 
higher levels of thought and consciousness. She 
leads him to lay hold by faith upon the hand of 
God and to suffer himself to be drawn up to 
fellowship and communion with his Maker. 

Art in general, and music in particular, as we 
shall ipresently see, have been and continue to 
be of the greatest possible service in developing 
man’s religious nature, in bringing him to an 
experience of communion with God and fellow- 
ship with Jesus Christ. 


F. Tur PRoBLEM AND THE NEED 


The need is that the church shall have a con- 
structive, educational program in music and wor- 
ship, which shall result in the development of 
the talents of the individual members of the 
congregation, draw the general congregation into 
active participation in the services of worship, 
and afford such training and leadership to all the 
people as to make this participation musically 
effective and spiritually worshipful. It must be 
a program founded on as high ideals of music 


28 CHURCH MUSIC AND WORSHIP 


and art as are at all possible or practicable. At 
the same time it must be a program which leads 
surely and straightly to real religious uplift, 
inspiration and experience. 

All true art has its place in the program of the 
church. But of the arts music is the most avail- 
able for practical religious use. It is with a 
program of musical education and development 
in the church that issues in true worship and a 
deep religious consciousness that we are chiefly 
concerned in the pages that follow. 


CHAPTER If 
MUSIC AND RELIGION 
THEIR ASSOCIATION 


A. Historica, OUTLINE 

As a matter of historical fact, music and religion 
have for ages been intimately associated. Par- 
ticularly, though not exclusively, is this true of 
the Christian religion and the Israelitic religion 
out of which Christianity developed. 

The Israelites, under Moses, used music, both — 
vocal and instrumental, singing, and dancing, as 
a means of praising God for their deliverance 
from the cruel bondage under which they suffered 
in Egypt. 

David, in hours of victory, triumph and joy, 
made musical expression of his thanks and praise 
to God, while in the many hours of sorrow, woe, 
and penitence which he experienced, he voiced his 
lament in plaintive melody and song. 

The Psalms, which give full and artistic ex- 
pression to the profoundest experiences of men 
of most advanced religious thought, were com- 
piled as a hymn book for the Temple worship. 

Jesus and his disciples, as they came to the 
closing moments of that Last Supper they ate 
together before going out to the Garden of Geth- 


semane, sang a hymn together. Surely, Jesus 
29 


30 CHURCH MUSIC AND WORSHIP 


would not have led his disciples in song at a time 
like this had he not found in music a reverent 
and adequate means of worship and communion. 
Without much doubt we may believe that often 
during the days they walked and talked together 
Jesus and his disciples lifted up their voices in 
song, the more effectively and fully to voice the 
emotions and spiritual experiences awakened and 
aroused in them by the messages and revelations 
so freely and intimately vouchsafed them from 
God. 

The Christian Church, beginning to take form 
and to acquire self-consciousness, taking its ex- 
ample both from the Temple worship and from 
the Master whose life and teachings gave it 
birth, sang and played instruments. 

As the gospel message was carried abroad into 
foreign lands and as Christians multiplied upon 
the face of the earth, music went everywhere as 
the handmaiden of the church. 

In Rome, when Christians were a despised 
and persecuted sect, outlawed and hounded to 
imprisonment and even death by the soldiers of 
the empire, at the risk of discovery they lifted up 
their voices in songs of praise, prayer, exhorta- 
tion, and dedication. When by edict of the 
ruler the religion of this lowly and persecuted 
sect became the state religion of the great empire, 
when the Christian Church began to develop 
into the powerful Roman Catholic Church of later 
days, music was regarded as a great and important 


MUSIC AND RELIGION 31 


part of religious worship and ceremony, and a 
special order of ministers and priests was set aside 
to study and practice the art. 

In a convincing chapter in Excursions in Musical 
History! Helen and Clarence Dickinson set forth 
the use of music in great religious movements. 
The Gnostics found music, singing especially, 
“their chief aid in proselytizing,” while “another 
great heresy in the early church, the Arian heresy, 
owed to its hymnody its enormous spread and 
influence throughout both West and East.” 

As the Roman Church began to manifest pagan- 
ism and corruption radical movements broke out 
against her. The Albigensian and Waldensian 
heresies were early and prominent among these. 
Among the adherents of each movement were 
numbers of poets and troubadors who expressed 
in language and sang to music their faith and 
doctrines. So marked was this feature of these 
movements that, according to the professors 
Dickinson, “‘a great historian could write, ‘Poetry 
was the wings of the heresy angel; the two greatest 
forces of the century were the lance and the harp!’ ”’ 

In an effort to give to the people songs “‘which, 
as he himself wrote, ‘shall be not merely digni- 
fied but holy; which shall be as spurs to incite us 
to pray to and praise God, to meditate on his 
works, to love, fear, honor, and glorify him,” 
John Calvin associated with himself the poet 


1 Excursions in Musical, History, Helen and Clarence Dickinson. H. W. 
Gray Co. 


32 CHURCH MUSIC AND WORSHIP 


Clement Marot, and afterward Theodore de Beza, 
who translated the Psalms into metricized French. 
In setting these to music Calvin had the services 
of no less musicians and composers than Claude 
Goudimel, teacher of the great Palestrina, and 
Louis Bourgeois, composer of the long-meter 
Doxology. So important did Calvin_ consider 
music to be in the life and work of religion that 
he caused a school to be established at Geneva 
and supported “at the expense of the state for 
the purpose of teaching. the young to sing, to 
qualify for leading the music in the church.” 

John Huss, the great Bohemian reformer, inter- 
ested himself in music as a factor in religious 
endeavor, “established a school for singers in 
connection with his Bethlehem..Chapel and— 
compiled the first Protestant hymn book.” 

The Moravian brethren, a sect later to exercise 
a profound influence upon the great English 
religious leader, John Wesley, were noted for 
their singing, and, indeed, their first great exer- 
cise of influence over Wesley was through the 
singing of a group of them on board a ship in 
which they and the founder of Methodism sailed 
across the Atlantic in the year 1735. 

The great Swiss leader, Zwingli, one of the few 
men able to measure wits with Martin Luther in 
theological debate, was a gifted musician, both 
a player of instruments and a singer. He used 
his musical gifts to such an extent and to such 
advantage in his religious work that “‘his enemies 


MUSIC AND RELIGION 33 


called him the ‘Evangelical Flute,’ and said of him, 
‘He goes through the land, this new Orpheus, 
leading the beasts.’ ”’ Commenting upon this 
the authors of Excursions in Musical History say, 
“They said this im derision; he might have gloried 
in the truth of it, in the power to lift men above 
bestial levels through his teachings and his music.’ 
~ The greatest of all religious movements or re- 
forms was that one led by Martin Luther. The 
work and teachings of many reformers, aroused to 
action by the growing evils in the Roman Catholic 
Church, prepared the way for this, which was in 
reality a kind of climactical culmination of many | 
movements. Martin Luther was the man able 
to sum up the objections to the Roman Catholic 
system and to personally win men of influence 
and prestige to his standards. It is impossible 
to measure the importance of this movement and 
likewise the contribution made by its leader. 
Both in the Lutheran Reformation itself, and 
in the life of its leader music had a very large 
place. Dr. A. C. MecGiffert, in his biography’ 
of Luther, states that “speaking of music in later 
years, he called it one of the most beautiful and 
lordly. gifts of God, ranking it next after theology 
in importance.” On one occasion “he exclaimed 
enthusiastically, ‘He who is musical is equal to 
anything.’ ’’ He insisted that music should be 
taught in the public schools, and one of his favo- 





1 Martin Luther, The Man and His Work, A. C. McGiffert, The Century Co. 


34 CHURCH MUSIC AND WORSHIP 


rite diversions was to pass an evening singing 
and playing with his friends. 

In his religious work Luther made the very 
greatest use of music. One of the famous theses 
which were nailed to the door of the church at 
Wittenberg demanded that the congregation. be. 
permitted to sing in religious service. The re- 
former himself wrote many hymns, words and 
music both, including the great chorale, “A_ 
Mighty Fortress Is Our God,” called by the poet” 
Heine the ‘“‘Marseillaise of the Reformation.” 
He set others to work, both writers of hymns and 
writers of music. He had the people taught and 
encouraged to sing. So great emphasis did Luther 
place upon music in the Reformation movement, 
and so effective was music as a means of religious 
propaganda and inspiration that Coleridge said, 
“Martin Luther did as much for the Reformation 
‘ by his hymns as he did by his translation of the 
Bible.” It was Martin Luther who called music 
“The Art_of the Prophets.” 

In England the Independents, Separatists, and 
especially the Wesleyans, used music and encour- 
aged the people of their congregations to sing. 
One of the two great leaders of the Wesleyan 
movement, Charles. Wesley, rendered his greatest 
service in the writing.of hymns and.in_ musical 
leadership. His great brother, John, through 
continual personal composition of hymns, through 
directions to his preachers to_teach their congre- 
gations to sing, through influencing and approv- 


MUSIC AND RELIGION 35 


a the passage of resolutions 1 in_the conferences 


come OER cee pe 


of. Ar 


congregational. song, “through editing of hymn 
books, and through incorporating in these books 
directions and instructions to the congregations 
as to _why.. and_how they should sing, constantly 
bespoke his deep regard for the art of music as an 
adjunct and aid in religious service. 

It has sometimes been stated that the early 
settlers of America, deeply religious men, were 
averse to the use of music in the churches. Un- 
doubtedly there were many who were. But 
examination of many tracts and booklets dating 
from those early days, found now in the Music 
Room of the Boston Public Library, reveals the 
interesting fact that writings and sermons on 
music in worship were apparently expected from 
the. “ministers. In 1647 John Cotton wrote a 
book entitled Singing of Psalms a Gospel Ordi- 
nance, in which he particularly urges the singing 
of 1 religious music with a “lively voice.” In 1721 
Cotton Mather wrote a work entitled The Accom- 
plished Singer, in which the particular point made 
is that of the necessity of expounding the psalms 
that the people may be led to consider and under- 
stand the meaning of the words they sing. In 
1720 the Rev. T. Symmes, of Bradford, Mas- 
sachusetts, wrote on The Reasonableness of Regular 
Singing. In 1721 the Rev. Thomas Walter wrote 
a tract on the subject Grounds and Rules of Music, 


and the Rev. Josiah Dwight, in the year 1725, 


386 CHURCH MUSIC AND WORSHIP 


wrote an essay to “silence the outery that has 
been made in some places against regular singing.” 
These are but representative of a considerable 
body of literature published in those early days in 
defense of and propaganda for music in religious 
services and worship. 

Every great evangelistic movement has been 
borne along on wings of melody and _ song. 
Dwight L. Moody himself repeatedly acknowl- 
edged his great indebtedness to Ira D. Sankey 
in his epoch-making evangelistic work. Every 
embryo Moody has sought an embryo Sankey. 
Just as evangelists have failed to measure up to 
the standards of spiritual and religious insight, 
influence, and results of the master evangelist, 
so leaders of evangelistic song have fallen far 
below the sincere and earnest Sankey. The type 
of music used, the mood and spirit of its use, and 
the atmosphere of the evangelistic service as a 
whole has fallen to low levels in recent evange- 
listic campaigns, but the need for music has been 
felt and recognized nevertheless, and in some 
manner effort has been made to meet that need. 

According to Professor H. Augustine Smith, 
one of the outstanding present-day protagonists 
of good music and of effective use of music in 
religious services, from one third to one half of 
all the time given to public worship in our churches 
is given to music, and from one fifth to one third 
of all the money spent by the Christian Church 
in carrying on its work is spent upon its music, 


MUSIC AND RELIGION 37 


in providing organs, instruments of various kinds, 
hymnals, choral works, anthems and solos, in 
employment of musicians to lead, to play, and 
to sing. 

In an excellent work by Professor Waldo 
Selden Pratt, Musical... Manistries..in,.the..Church,' 
we read that music “‘now has its own literature 
and periodicals, its own established commercial 
enterprises, its own professional class, its own 
systems of education, its own vast circles of 
devotees and students, its own artistic laws and 
doctrines, its own organic momentum as an inde- 
pendent fine art, at least coordinate with the . 
other fine arts.” A little later we read that “the 
art of music is what_it is to-day largely in con- 
sequence of what religion. has done for it.” “By 
this,” says Professor Pratt, “I mean that the 
demands that religion has placed upon music, the 
opportunities and incentives for its development 
that religion has afforded, and the basis of knowl- 
edge and character that religion has supplied for 
musical culture—I mean that these have furnished 
to music the necessary occasion _and _atmogphere. 
and nutriment for its growth to the status of 
a great and famous art.” 


SUMMARY 

So we see that music and religion have been 
associated, intimately and inseparably associated. 
From the beginning of Israelitish history, through 





4 Fleming H. Revell Company, Publishers. 


88 CHURCH MUSIC AND WORSHIP 


the days when Jesus was here in the flesh, through 
the periods of great missionary expansion of the 
early church, the growth and development of the 
Roman Church, the reformation movements 
within and the rebellions without that church, 
through the evangelical movements on the Euro- 
pean continent and in England, through the 
Pilgrim conquest of America in the name of God, 
through the evangelistic efforts in America, and 
continuing in ever-increasing degree to-day, music 
has had a home in the Christian Church, a home 
where, in spite of much misunderstanding and 
mistreatment, there has always been welcome and 
love and affection for the great art. 

In the light of this long-continued and increas- 
ingly intimate association we may safely infer 
that there is some vital relationship between 
music and religion. What that relationship is 
we shall discuss in the next chapter. 


CHAPTER IIT 
MUSIC AND RELIGION 


Tuerr RELATIONSHIP 


RELIGION and music have been “keeping com- 
pany” for a long period of time. Music must be 
something more to religion than a mere pleasant 
means of “brightening” the public services of the 
church and passing the time until Scripture, 
prayer, and sermon are brought to the waiting 
congregation. ‘There must be an important serv- | 
ice which music renders religion. There must 
be a vital relationship between the two. 

What the nature of that relationship is,is a 
question difficult to answer in concrete fashion. 
Some aspects of the relationship are almost in- 
tangible, to be felt and experienced in_ spirit 
rather than observed and described in analytical 
manner. But we may at least attempt to set 
forth some of the aspects of this relationship. 


A. Music Is 4 MEans oF SPIRITUAL IMPRESSION 
AND EXPRESSION 


Man has always associated music with things 
divine. Melody, harmony and rhythm, sweet 
sound and inspiring movement have ever brought 
to his mind thoughts of God. In pre-Israelitish 
and non-Christian religions instruments_of music, 


crude enough ofttimes, drums of hollowed wood 
39 


40 CHURCH MUSIC AND WORSHIP 


and flutes of reeds, cymbals of clanging brass and 
bells of tinkling metal, have summoned men to 
worship and brought into their minds and hearts 
the awed consciousness that 


“The vastnesses above [him] 
Are filled with spirit forces, strong and pure.” 


Something of this may have been in Dryden’s 
mind when he wrote: 
‘When Jubal struck the chorded shell 
His listening brethren stood around, 
And, wondering, on their faces fell 
To worship that celestial sound; 
Less than a God they thought there could not dwell 
Within the hollow of that shell 
That spoke so sweetly and so well.” 


Early Christians, leaders and laymen alike, 
unhesitatingly ascribed to music divine origin, 
and it was very common for worshippers to 
declare that they heard the angel voices of their 
beloved dead joining in the song of the choir. 

The melodies and chants of the church were 
believed to be inspired by the Holy Spirit. Pro- 
fessor Edward Dickinson, in his Music in the 
History of the Western Church,' gives the following 
account of certain legends which prevailed in 
the Middle Ages: 

“Tt was long believed that Gregory the Great 
one night had a vision in which the church ap- 
peared to him in the form of an angel, magnifi- 
cently attired, upon whose mantle was written 


1Charles Scribner’s Sons, Publishers. 


MUSIC AND RELIGION 41 


the whole art of music, with all the forms of its 
melodies and notes. The Pope prayed God to 
give him the power of recollecting all that he 
saw; and after he awoke a dove appeared who 
dictated to him the chants which are ascribed 
to him.” 

Professor Dickinson also tells of another legend. 
“A blind man named Victor, sitting one day 
before an altar in the pantheon at Rome, by 
direct divine inspiration composed the response 
“Gaude Maria,’ and by a second miracle imme- 
diately received his sight.” “‘Another story from 
the same source tells how a monk of the convent 
of Saint Victor, while upon a neighboring moun- | 
tain, heard angels singing the response ‘Cives 
Apostolorum,’ and after his return to Rome he 
taught the song to his brethren as he heard it.” 

Legendary and mythical as these accounts are, 
they testify of the belief that has persisted through 
time that music is the divine art, that it is the 
direct gift of heaven, that it brings to man 
thoughts of God, and that the life that is spiritual 
expresses itself most naturally, fully, and_satis- 
factorily through the medium of melody, harmony, 
and rhythm. 

Religion is, after all, something to be experi- 
enced rather than something to know. No true 
religion falls short of a consciousness of commu- 
nion with God. and an experience of fellowship 
with Christ. Art in general, and music espe- 
cially, puts man into a frame of mind and mood 


42 CHURCH MUSIC AND WORSHIP 


to perceive spiritual truth and gives him a medium 
through which he can express himself in love of 
God and fellow men as he can in no other way. 

Not even in language can he thus express 
himself. With appreciation of the truth mvolved 
we may read the lines from the poet Moore: 


““Music!—O how faint, how weak, 
Language fades before thy spell! 
Why should feeling ever speak 
When thou canst breathe her soul so well?” 


B. Music Prepares THE Way, Moop anp 
ATMOSPHERE FOR TRUE SERMONIZING 


Closely related to this first fact—that music 
is an agency of spiritual impression and expres- 
sion—is the second, that music gives frame and 
setting to the service of worship. And the service 
of worship properly conducted and earnestly 
participated in is the greatest aid the preacher 
can have in presenting spiritual truth. 

After all, the task of the preacher is not pri- 
marily to impart to his people in an intellectual 
manner facts, figures, statistics, and items of 
information. All these have their place in his 
message, but they are not the end and aim of his 
message. The great preachers of all time have 
been and are to-day men who have a deep, 
poignant, and abiding experience of the presence 
of God in the world working out eternal prin- 
ciples of righteousness. Their religion is some- 


MUSIC AND RELIGION 43 


thing they experience and feel rather than some- 
thing they know in terms of mental compre- 
hension, and their task is to induct others into 
that experience, into the happiness and the joy, 
the sense of responsibility and apprehension that 
come to those who set as the goal of their life’s 
endeavor the furthering of the building of God’s 
kingdom in the world. 

For the most part they have only cold and 
formal words, sentences and phrases with which 
to impart this experience to their people. These 
they seek to surcharge with the passion and 
fervency of the sincere orator, that they may make 
their people feel with them. Now, let the people - 
be cold, unresponsive, previously unmoved, and 
the minister’s task is a well-nigh impossible one. 
If by virtue of his own strong emotion and ability 
to project. that emotional state into the minds 
and hearts of his congregation he does succeed in 
stirring. them to a responsive and receptive atti- 
tude, he has used most of his time, strength, and 
material, and has little left with which to drive 
home his thought so as to produce conviction and 
action.  « 

But let/the service of worship, the singing of 
the hymns, the rendition of anthems, chants and 
responses, the reading of the psalter, be all that 
it_can be and ought.to be, and the work of the 
preacher is half done before he announces. subject 
or text. He has only to cast himself into the 
emotional..stream..already running strong and 


44 CHURCH MUSIC AND WORSHIP 


carry his audience on to the specific goal which 
he aims to attain. 

It is noteworthy that so many of the great and 
effective preachers of the gospel have been men 
who. realized and committed. themselves to the 
power.of music and the service of worship to 
give proper setting and to create the right atmos- 
phere and mood for their messages. Notable 
among these are, of course, Luther and Wesley, 
leaders of the two greatest religious movements 
of all time, and Moody, evangelist extraordinary 
of the past century. Of the music these men 
sought and fostered in their services it might be 
said as Byron said of the harp David played, 


“It softened men of iron mold, 
It gave them virtues not their own; 
No ear so dull nor soul so cold, 
That felt not, fired not to the tone, 
Till David’s lyre grew mightier than his throne.” 


C. Music Artrracts CONGREGATIONS AND 
: AFFoRDS A MEANS oF ENSEMBLE Wor- 
SHIP 


The third fact concerning the relationship of 
music and religion is that it has power to con- 
voke congregations and to give them a means of 
united worship, prayer, praise, and exhortation. 

Spiritual religion has awakened response and 
found expression most markedly in congrega- 
tions and assemblies. In the congregation of men 


MUSIC AND RELIGION 45 


and women assembled for worship and service 
has most religious experience taken its rise. 
This is not to say that there are not exceptions 
to the rule, nor is it an attempt to even establish 
a rule. But every preacher and religious leader 
recognizes the principle involved, call it psycho- 
logical or something else, and few there are who 
have not found their efforts blocked from time 
to time by the small numbers of worshipers and 
listeners attending religious services. The spirit- 
ual life of the church has largely developed under 
the influence of congregational gatherings. The 
leaders of Christian work have always centered 
their efforts largely upon the public service. Any 
agency that can successfully serve the church 
by bringing people imto its services and by 
affording its congregations full and free religious 
expression is of the utmost importance and worth 
to the church. 

The great size of the congregations that con- 
stantly attended the preaching of the Lutheran 
and the Wesleyan leaders is a source of amaze- 
ment and sometimes of discouragement to the 
Christian worker of the present day. Ofttimes 
the gathering of these great groups for religious 
service and instruction is ascribed entirely to the 
great preaching of those days. Of course this 
fails to take into account the environment of the 
people, the historical setting of the movements 
and the more common, if somewhat superstitious 
interest of the masses of those days in religious 


46 CHURCH MUSIC AND WORSHIP 


subjects. But it likewise fails to take into account 
the great service music, especially congregational 
singing, rendered in bringing the multitudes 
together. 

Luther gave back to the people a privilege the 
Roman Church had denied them for centuries— 
the privilege of congregational song. Not only 
that, but he himself set to work, and he set his 
followers to work to write words and music for 
the people to sing. And the people came together, 
in some degree at least, for the joy of great con- 
gregational song, for the delight of ensemble 
musical expression. One Jesuit priest, a con- 
temporary of Luther’s, testifies from his point 
of view that “Luther damned more souls with 
his music than he ever did with his sermons,” 
meaning that more people were attracted to him 
by the music of the Reformation than by any 
other means or agency. 

Of the power of music in the Wesleyan move- 
ment to attract people to the meetings and 
services we have testimony in the words of a 
contemporary rector of the Church of England, 
Vincent by name, who says that “Where one 
person has been won away from the Established 
Church by the preaching of the Wesleyans, ten 
have been won away by their singing.” And 
in a little work entitled Considerations on Paro- 
chial Music he urges that the Church of England 
begin to train and lead the people in song, that 
they may prevent the continued loss of members 


MUSIC AND RELIGION 47 


attracted to the new and growing religious body 
by their music. 

It would be a difficult, probably an impossible 
task to accurately estimate the service rendered 
by music to the great revivals of the past centuries 
in attracting people to the services, but there is 
no exaggeration in saying that none of these 
movements would have attained the success they 
did attain if music and the congregational service 
had been neglected. It is not quite fair to ascribe 
all the success of such movements to the men 
who did the preaching. 

To-day one of the great problems of the 
Christian Church is to reach, interest, and attract © 
people. The temptation is great to seek novelty 
and sensuous attractions of cheap and worthless 
type just for the sake of bringing men and women 
under the sound of the preacher’s voice. Such 
things lower the respect of the people for the 
church and put them in a mood that is anything 
but worshipful or conducive to spiritual con- 
sideration, thought and experience. 

Why may we not appeal to the art of music 
for aid? Why may we not have in the church 
the greatest choirs, orchestras, and soloists, the 
finest productions of oratorios, cantatas, pageants 
and sacred song, particularly the most exalted 
and elevated, but warm and enthusiastic con- 
gregational singing to be found anywhere in the 
land? Why may we not so prepare the people 
and teach and lead them that they will under- 


48 CHURCH MUSIC AND WORSHIP 


stand, be interested in, and respond to every- 
thing that is sung to them or for them, and that 
they will most effectively and joyfully join in 
that which is sung by them? It will cost money, 
yes. We shall have to give up a sermon now and 
then, it is true. We shall have to put our minds 
to it to produce leaders and directors of Christian 
consecration and of strictly artistic training and 
ability, but it can be done. And if it is done, 
the people will come as they did of old. 

Some may say that even thus there is an ele- 
ment of mere seeking after sense pleasure on the 
part of the people who will come to the church to 
hear great music, to witness splendid pageants, 
and to participate in inspiring congregational 
song—that they may go away without a definite 
message and without any leadership toward dedi- 
cation to the cause of Christ. 

True it is that many will come for their enjoy- 
ment of the music they hear and possibly of the 
drama they see. But may we not believe that 


“A song may catch him whom a sermon flies, 
And turn delight into a sacrifice’’? 


Someone has said that music “is the bridge 
from the sense to the soul,” and many may come 
to enjoy themselves, who will remain to worship. 

But they. must always.hear.and.see that.which 
is good and irreproachable as to material used, and 
most finished in the manner in which it is pre- 
sented. 


MUSIC AND RELIGION 49 


Saint Augustine relates in his Confessions that, 
when he went to Milan as rhetoric reader for the 
city, hearing of the eloquence and _ oratorical 
gifts of the Bishop Ambrose, he went to hear him 
preach, not once, but often. “And,” he says, 
“T listened diligently to him preaching to the 
people, not with the intent I ought, but, as it 
were, trying his eloquence, whether it answered 
the fame thereof, or flowed fuller or lower than 
was reported; and I hung on his words attentively; 
but of the matter I was a careless and scornful 
looker-on; and I was delighted with the sweetness 
of his discourse.’ Then Saint Augustine tells_ 
us “while I opened my heart to admit ‘how elo- 
quently he spake,’ there also entered ‘how truly 
he spake,’ but this by degrees.”’ 

It may afford a sobering subject of reflection 
for many a minister and many a music com- 
mitteeman, or for that matter, for many a musical 
director, to consider whether or not the music and 
worship..of the church is made beautiful enough 
- to.attraet-men.and women, and whether it deals 
with such subject matter that, as it appeals and 
enthralls with its beauty, by degrees it wins them 
to a consideration of its truth. 

May we not, using the great music of the 
church, the most perfect and orderly services of 
worship, the finest dramas, the few worth-while 
pageants, accepting only the very highest and 
most artistic standards of presentation, confi- 
dently expect in this day of difficulty in Christian 


50 CHURCH MUSIC AND WORSHIP 


work (has there ever been a day when there was 
not difficulty?), in this day when the theatrical 
instinct is dominant as never before, to bring 
multitudes of people to services of Christian wor- 
ship because of the beauty and enjoyment they 
may expect to find, and then have them see 
through the form of beauty the appealing figure 
of Jesus, hear through the sound of melody and 
harmony his entreating voice saying, “Come unto 
me’? 

But it is not only in bringing congregations 
together that music and the kindred arts can 
serve the church so well. When people have 
assembled there is need for common expression 
in worship, prayer, and praise. When the con- 
gregation has been challenged and moved by 
sermon, service, or drama, there is a real need 
for a means of common expression in dedication. 

In invocation for God’s presence in the service 
of worship and in manifestation and recognition 
of that presence music serves the church perfectly. 
Likewise in affording a means of congregational 
expression to that exhortation which the members 
would speak to one another, or which all would 
speak together to the men and women outside 
the church, music stands ready to serve. Music 
affords a fully satisfying means of common public 
expression which yet comports with the dignity 
and reverence which marks, or should mark, all 
religious worship. Music, if thoughtfully chosen, 
and reverently and skillfully rendered by chosen 


MUSIC AND RELIGION 51 


voices or instruments, or if earnestly and heartily 
participated 1 in by the general congregation, gives 
expression to, if, indeed, it does not actually give 
rise to, that feeling of awe which characterizes 
man consciously in. the.presence.of God. And 
not only does it give such expression, but it defi- 
nitely directs all the thought and attention of 
man thus prepared in mind and mood for worship, 
to the true God, to his Son Jesus Christ, and to 
the Holy Spirit. 


D. Music 1s AN AGENT oF REtIGIOUS EDUCATION 


In bygone days Scripture and doctrine were 
taught to the people through hymns and music, 
without their being quite conscious of the fact. 
Scripture was metricized in hymn form, doctrines 
were incorporated in hymns, and people who 
could not read, who would not remember what 
was preached, for the love of music learned the 
hymns, sang them at their work and at their play, 
alone and in company, by night and by day. 
Religious experiences of the great Christian 
leaders were set forth in hymns and songs, and 
the people, singing these hymns, were steadily 
led toward these experiences. 

There is a story of Martin Luther, which 
cannot be vouched for as true, but which illus- 
trates this pomt very well. It is said he was 
pondering over the problem of finding a means 
to disseminate the principles of the Reformation. 
Many of the people could not read or write. Of 


52 CHURCH MUSIC AND WORSHIP 


those who could many would not be interested 
to read and study theological and_ religious 
writings, especially coming from the pen of a 
heretic, condemned by the great Roman Church. 
And of those who would read, many would be 
unmoved and unimpressed. It remained for the 
reformer to find some means of transmitting his 
message to the people in such a way as to compel 
attention, insure retention, and arouse.emotional _ 
response. 

One day, according to the account, Luther 
heard a boy singing on the street outside his 
study window. He listened, attracted as he 
always was by music. And as he listened it 
came to him that that which attracted and moved 
him so greatly, if made an agent of the Refor- 
mation, would in turn attract and move others. 
Whether or not the story is authentic, certain it 
is that Luther correctly estimated the force and 
effect of committing to song the doctrines and 
teachings of the Reformation, that he proceeded 
so to do, and that the results greatly justified the 
procedure. 

There is no more effective way to’ make reli-_ 
gious.teaching attractive than to set it to music. 
In the great choral works, anthems, hymnology, 
and all the rich literature of worship which is the 
heritage of the Christian Church there is bound 
up religious truth. One of the great privileges 
and responsibilities of the religious educator is 
to release this great body of truth that it may 


MUSIC AND RELIGION 53 


bless the world. Properly presented and ade- 
quately sung, men will listen, or, for that matter, — 
will participate, and with conscious recognition 
of the truth they hear or sing. ‘They will enter 
themselves into the _proclamation of religious 
truth unembarrassed, free..and..vigorous, when 
they are invited and led to sing, though they 
might be altogether unwilling to. pray, testify, 
exhort,...or...preach.....And they will not... forget 
that which they love to sing. It is quite uncom- 
mon for men to quote the sermons they have 
heard and the religious writings they have read, 
but it is not uncommon for people to break out in 
song at any opportune place or time. 

Particularly in dealing with children does music 
serve effectively!in.religious.education, Children 
have, perhaps, a freer and more. unaffected love 
for music than have adults. . And they have real 
capability to..remember what is taught them. 
They have a natural love for music. They will 
sing as naturally and as little self-consciously 
as the birds of the air. Why may they not be 
taught to sing worthy and beautiful sacred music, 
that there may spring from their lips in the 
moments when they sing, at their play, or at 
whatever time or place, religious truth, thereby 
making deeper impression upon their own lives, 
and likewise impressing the lives of others? 

And as a setting for the imparting of religious 
instruction music serves the same end as it does 
in relation to the sermon. It prepares the way, 


54 CHURCH MUSIC AND WORSHIP 


awakens mind and heart to the right mood, 
weaves its spell upon the spirits of men so.that 


response _to the spiritual. significance of that_ 


which is taught is swift and sure. 

Thus in religious education music attracts, 
compels attention, insures remembrance of the 
truth taught, puts religious truth into the life in 
such a manner as to make it ever possible and 
probable that it will be freely re-expressed, and 
proclaimed, creates the atmosphere and mood 
favorable to development of true Christian char- 
acter and life. 


E. Music Brineas Asout SprrituAL UNnNItTy 
oF CHRISTIANS OF ALL TIMES, AND IN ANY 
PARTICULAR PRESENT TIME. 


The sermons and religious writings of past 
centuries are little read by the rank and file of 
men to-day. Probably the Christian pastor or 
teacher would consider it a somewhat hopeless 
task to get the great majority of people to study 
and understand them. Possibly it would not be 
justifiable to make the effort, for the change in 
theological outlook and belief is great, even from 
generation to generation. In the lifetime of 
many who read these words there has been a 
distinctly discernible change in general religious 
beliefs, that is in the creedal, theological and doc- 
trinal beliefs. 

But the spirit of Christian love and service 
abides unchanged and unchanging. There is 


MUSIC AND RELIGION 55 


need for conservation of the fruits of Christian 
experience of one century that the next may 
profit thereby. And in the hymns and services 
of worship this conservation is brought about. 
If Christian peoples do not read the sermons and 
religious writings of a bygone day, they gladly 
sing the hymns of that day. 

Few sermonic or pedagogical statements from 
the eighth century find their way into the services 
of the church of to-day. And they might sound 
strange and foreign if they did. But the abiding 
spirit of faith and dependence in Christ is sung 
forth in many a church of to-day in the words of 
a hymn by Saint Stephen, coming down to us— 
from the eighth century: 


“Art thou weary, art thou languid, 
Art thou sore distressed? 
‘Come to me,’ saith One, ‘and, coming, 
Be at rest.’ 


‘Hath he marks to lead me to him, 
If he be my guide? 
‘In his feet and hands are wound-prints, 
And his side.’ 


“Ts there diadem, as monarch, 
That his brow adorns? 
“Yea, a crown in very surety, 
But of thorns.’ 
“Tf I find him, if I follow, 
What his guerdon here? 
‘Many a sorrow, many a labor, 
Many a tear.’ 


56 CHURCH MUSIC AND WORSHIP 


“Tf I still hold closely to him, 
What hath he at last? 
‘Sorrow vanquished, labor ended, 
Jordan passed.’ 


“Tf I ask him to receive me, 
Will he say me nay? 
‘Not till earth and not till heaven 
Pass away.’ 


“Finding, following, keeping struggling, 
Is he sure to bless? 
‘Saints, apostles, prophets, martyrs, 
Answer, Yes.’ ” 


Ascriptions of prayer and praise from the ninth 
century are sparsely used indeed in our churches 
to-day, and many of them would not rightly 
express the mind and heart of the modern Chris- 
tian worshiper. But what Christian congrega- 
tion does not find expression of some of its greatest 
and most joyful religious thoughts and emotions 


in Theodulph’s hymn from that century? 


“All glory, laud, and honor 
To thee, Redeemer, King, 
To whom the lips of children 
Made sweet hosannas ring! 


“Thou art the King of Israel, _ 
Thou David’s royal Son, 
Who in the Lord’s name comest, 


The King and Blessed One. 


“The company of angels 
Are praising thee on high; 
And mortal men, and all things 
Created, make reply. 


MUSIC AND RELIGION 87 


“The people of the Hebrews 
With palms before thee went: 
Our praise and prayers and anthems 
Before thee we present. 


“To thee, before thy passion, 
They sang their hymns of praise; 
To thee, now high exalted, 
Our melody we raise. 


“Thou didst accept their praises;. 
Accept the prayers we bring, 
Who in all good delightest, 
Thou good and gracious King. 


“All glory, laud and honor 
To thee, Redeemer, King, 
To whom the lips of children 
Made sweet hosannas ring.” 


These are but two chosen from many hymns 
from the bygone centuries thronging our modern 
hymnals, bringing down to us the spiritual faith 
and insight of our Christian forefathers, conserving 
the religious experiences of bygone days for each 
succeeding generation, linking together in con- 
sciousness of oneness in Christ the true worshipers 
of all the ages. 


As our hymnology binds together the peoples 
of different succeeding generations and centuries 
past, so to-day it is weaving a bond of unity 
among members of different communions, even 
between peoples of different religious faiths. 
For in the hymns of the church men of every 


58 CHURCH MUSIC AND WORSHIP 


religious faith and inclination are findmg common 
expression of their most profound conceptions 
of God and man. It matters not to the Protes- 
tant that many hymns in his hymn book are 
products of Roman Catholic minds and pens— 
“Faith of our Fathers,” “‘Lead, Kindly Light,” 
“Jesus, the Very Thought of Thee,” and many 
another. It does not occur to the Trinitarian 
to refuse to sing “In the Cross of Christ I Glory,” 
on the ground that it was written by a Unitarian; 
the evangelical churches everywhere find complete 
and perfect satisfaction in singing those two 
beautiful prayer hymns, “Sun of My Soul,” and 
‘Abide With Me,” though written in each case 
by rectors in the Church of England; Baptist and 
Methodist make free interchange of “I Know 
That My Redeemer Lives,” and “Jesus, Lover 
of My Soul’; a Presbyterian minister gave to 
the world that beautiful hymn, 


“TI heard the voice of Jesus say, 
Come unto me and rest,” 


but the Congregationalist is quite as likely to be 
heard singing that hymn as is the Presbyterian 
to be heard smging Washington Gladden’s great 
hymn of social service; 


“O Master, let me walk with thee 
In lowly paths of service free.” 
The Moravian Zinzendorf wrote 


“Jesus, thy blood and righteousness 
My beauty are, my glorious dress,” 


MUSIC AND RELIGION 59 


while the Lutheran, Benjamin Schmolke, wrote, 


“My Jesus, as thou wilt: 
O may thy will be mine,” 


but either hymn may be heard freely sung in any 
church in the land. 

It remains for a Quaker poet to gather up the 
significance of all of this and to voice it in a hymn 
that many know and love, “Immortal, Love, 
Forever Full, Forever Flowing Free,” for in the 
last stanza Whittier writes what all of us may use 
as our own expression of mind and mood to-day, 


*“O Lord and Master of us all, 
Whate’er our name or sign, 
We own thy sway, we hear thy call, 
We test our lives by thine!” 


In a very true sense, when it comes to the 
hymnology of the Christian Church 


“We are not divided, 
All one body we, 
One in hope and doctrine, 
One in charity.” 


We may go from church to church, from faith 
to faith, and yet there is a common heritage of 
hymns and music that makes us feel, in some 
degree at least, that we are with our kinfolk. 





SUMMARY: 
Music is related to religion, then, in a most 
vital way, as servant and handmaiden, (1) giving 


60 CHURCH MUSIC AND WORSHIP 


to the church the greatest means of spiritual 
impression and expression; (2) affording a setting 
and creating atmosphere for the benefit of preacher 
and sermon; (3) calling together congregations 
for worship and affording a fitting, dignified, and 
adequate means of expression in worship, in 
prayer, praise, exhortation, and dedication; (4) 
assisting in religious education; and (5) binding 
together in oneness and fellowship Christians of 
all ages, of all lands, races, tongues, creeds, and 
faiths. 

No wonder that Martin Luther one day ex- 
claimed, “‘Music is the art of the prophets.” 


CHAPTER IV 


THE MUSICAL LEADERSHIP 
OF THE CHURCH 


A. Tur Minister as Leaver or Music AND 
WorSsHIP 


The ideal leader of the music and worship 
program of the church is the minister. And 
logically the task devolves upon him. A part 
of the definite responsibility that rests upon any 
minister is to lead the people of the community 
in which he labors, or a portion of them, in wor- 
ship. He must instill in them the spirit of wor- 
ship, he must teach them how to worship, and 
he must call them together for the purpose of 
worship. What could be more logical than that 
he should be the actual leader of the people in 
acquiring the technique of worship? 

The service of worship takes more than one 
half—frequently two thirds—of the time allotted 
to a religious service. Music preponderates in 
this service of worship. 

Why should not the minister of the church be 
trained, through required courses in the theo- 
logical seminaries, and in special conferences and 
institutes, to prepare and lead services of ritual 
and worship, and particularly to lead the people 
in congregational singing of hymns, chants, 
antiphons, and even simple anthems? 

61 


62 CHURCH MUSIC AND WORSHIP 


It is quite true that the average minister is not 
a gifted musician, but any man or woman of 
religious devotion, moderate musical ability, and 
strong and commanding personality, can be 
trained and equipped to lead the congregational 
singing. Leadership of choirs requires, of course, 
the equipment and training of a specialist. 

But even though the minister does not actually 
direct any service or rehearsal in person, he 
nevertheless should be the leader of the church in 
its program of music and worship, and in its 
educational development along these lines. Cer- 
tainly he should be the head of any music.com- 
mittee or board established for the purpose.of 
providing the church with a program of music 
and worship. To this end he should be very 
definitely trained, trained in the art of worship 
and in appreciation of music at least. 

If it be true that the hymnal is second only to 
the Bible in importance for religious instruction 
and inspiration; if it be true that the maker of the 
hymns and songs of a people has a greater 
influence over them than the writer of creeds 
and doctrines; if it be true that music is vitally 
related to religion and that it is the most effective 
handmaiden and servant of the church, then 
there is good reason for strongly asserting that 
the man who is not trained in this field is not 
completely equipped for the task and profession 
of a minister of Christ. There is scarcely more 
reason for having a required course in synoptic 


MUSICAL LEADERSHIP OF CHURCH 63 


Gospels or in systematic theology in our semi- 
naries and training schools for religious leaders 
and workers than there is for having a required 
course of two or three years duration in the 
subject of music and worship. The minister, 
director of religious education, and every other 
leader in Christian work must certainly be trained 
at least in appreciation of the nature of the 
service rendered in religious worship and service 
by music, and art in general. 


B. A New Proression—Tue MuInIstry oF 
Music AND WorRSsHIP 


Even though the validity of the argument 
thus far be admitted, however, and though the 
minister himself feel the responsibility that rests 
upon him and find himself willing to give time, 
energy, and thought to the problem of music 
and worship of his church, he may not be able 
personally to perform any of the duties related 
thereto. Owing to defective gift, lack of technical 
training, or possibly to the great responsibility 
resting upon him in this strenuous modern day, 
he may find it impossible to direct congregational 
singing or to conduct choir rehearsals. In the 
great majority of cases this is probably true, and 
in the light of this the foregoing section must be 
regarded as an attempt rather to establish a new 
spirit and attitude toward the whole work than 
as an effort to actually enlist ministers in personal 
leadership of the program of music and worship. 


64 CHURCH MUSIC AND WORSHIP 


So the specialist in this field must be developed 
and used. But this specialist should stand as a 
brother of the minister, a coworker, taking over 
a portion of the minister’s task, a minister himself. 
Too frequently he is looked upon and treated as a 
kind of hired man and is accorded no voice nor 
authority whatsoever in the mapping out of the 
church program of work, worship, and _ service. 
Pastor and people should regard him as an asso- 
ciate minister with great religious responsibility 
devolving upon him. 

And this new leader in the church must under- 
stand that he is not merely a musician. His 
work involves all that the secular profession of 
music does and much more. In the church he 
is a leader in worship and a religious educator. 
He falls short of a true conception of his respon- 
sibility and privilege unless he comes to his work 
with a definite and conscious purpose to enrich 
the lives of the people and to lead them into 
ways of spiritual impression, expression, and ex- 
perience. 

There is a great field opening up for his service. 
He has not, as yet, a fixed place in the organiza- 
tion of the church, nor has his profession a dis- 
tinctly defined province nor a definite name. He 
may be called a “Minister of Music,” “The 
Director of Music and Worship,” or, more com- 
prehensively, the “Minister of the Fine Arts in 
Religion.” In this latter case it is understood 
that he enters into the field of pageantry, drama, 


MUSICAL LEADERSHIP OF CHURCH 65 


and visualization, and very extensively into the 
field of ritual. 

But the new profession is growing and devel- 
oping. Young men and women are preparing 
themselves for it, talented young men and women, 
who, a few years ago, would have entered the 
service of the church as ministers or missionaries 
and submerged their artistic gifts, or who would 
have gone into the profession of music, with a 
consequent abandonment of the religious empha- 
sis in their work. Now they are preparing them- 
selves to enter the service of the church and to 
carry on their ministry through the medium of | 
music and worship, and of the fine arts generally. 

Likewise is the field growing and developing. 
Indications are that in another decade or so the 
new profession will be thoroughly established in 
the larger city churches at least, and that through 
cooperative effort of different churches in a given 
community, or of churches in neighboring towns 
and villages, the new profession may carry its 
blessing and inspiration to the remote parts of 
the country. It is quite imaginable that some 
great denomination, catching a vision of the 
religious significance of the new profession, will 
create a department in its organization for nation- 
wide promotion of such a ministry and service. 


C. QUALIFICATIONS OF THE DirEcToR oF Music 
AND WoRSHIP 


The young man or woman who enters this new 


66 CHURCH MUSIC AND WORSHIP 


type of ministry must set up a very high standard 
of training and equipment as essential to success. 

From a purely musical standpoint this director 
should be thoroughly competent, trained and 
efficient as a director of choral’ organizations. 
And the church must insist upon this. It is a 
great fault for the church to give her choirs and 
her congregation into the care of an untrained 
and unskilled director. This always results in 
the establishment of low ideals, in a lack of 
artistic and spiritual excellence in the prepara- 
tion ‘and presentation of services and programs; 
and it likewise inevitably discourages choir and 
congregation and tends toward decadence and 
disruption of the entire program. 

The director of the church choir should be 
competent enough to win the confidence and 
respect of the trained and critical musicians of 
the community. He has to deal with some of 
the greatest musical works ever written—orato- 
rios, cantatas, anthems, and solos. In the larger 
or more ambitious churches he must come into 
direction of orchestral playing, with its great 
field of instrumental music, and its difficult 
accompaniments for choral works. He must be 
at least conversant with the pipe organ and its 
literature; and if he is a skillful organist, so much 
the better, though ideally he will not play, but 
conduct. ‘Too high a musical standard for the 
director of the choirs of the church cannot be 
established. The Christian Church stands for 


MUSICAL LEADERSHIP OF CHURCH 67 


the most abundant life, and not only deserves, 
but must have, the very highest possible type of 
leadership in its music and worship, as well as in 
other realms of endeavor and service. 

This director ought, too, to have special training 
in the handling of children’s voices; or, failing 
this, he should have an assistant specifically 
trained for that work. The musical talent and 
the voices of the children are the most priceless 
treasures the church can give into the care and 
keeping of any director for development and use. 
Not only the future musical program of the 
church, but to a very great extent, the future- 
happiness _ and richness of the children’s lives 
depend upon the leadership of the children and 
young people in the music of the church. It 
will. be a very great boon to the church if the 
students of public-school music can have courses 
especially emphasizing the needs and _ oppor- 
tunities for musical directing in the church, for 
then the trained public-school music teacher can 
put her services, with all her special knowledge 
and experience, at the disposal of the church. 
Incidentally, an honorable avocation, leading 
toward a special profession, may be opened up 
for the teachers of public-school music. 

In direction of congregational singing the new 
type of ministry calls for a leadership as carefully 
studied and with as thorough technique as does 
the choir work. The power and spiritual effect 
of hymn singing depends a good deal more than 


68 CHURCH MUSIC AND WORSHIP 


has been generally realized upon such matters as 
tempo, rhythm, and dynamic contrast in inter- 
pretation, and upon the way in which the melody 
and harmony of the hymns is brought forth. 
The success of the director in leading a congre- 
gation depends very largely upon his having a 
thoroughly consistent technique of conducting, 
so that, without undue or exaggerated motions, 
he can always impart to the congregation “his 
understanding of the hymn being. sung.and_his 
purpose as to its interpretation. | 

To all intents the congregational song leader is 
just directing a magnified choir or chorus. 
Though he have ten thousand people (the writer 
has often had as many, several times two or 
three times that number), he must deal with them 
as one great choir, capable of being led in singing 
and interpreting a worth-while form of music, 
the religious hymn, or, on occasion, the patriotic 
hymn, or the folk song. 

It is much better that he use no baton, for that 
is too formal and ineffective in gripping and 
leading so large a body of singers, but that he 
carefully train himself to effectively and as grace- 
fully as possible beat time with free hands, both 
hands at once, one consistently maintaining the 
time beat, the other free to mark phrases, to hold 
the congregation over rests, whole notes, or other 
places where the regular forward march of the 
music 1s interrupted and the congregation is in 
danger of coming to musical grief. It is desirable, 


MUSICAL LEADERSHIP OF CHURCH 69 


likewise, that he hold no book in his hand, but 
that he know his hymn from memory or that 
his book rest upon a stand or table where he can 
see it without holding it. Book, baton, or music 
rack serve as barriers between the song leader 
and his congregation. 

It will not do for him to just formally beat 
time and mark the phrasing, rests, or holds as 
someone going through a formal exercise in 
calisthenics to be watched by spectators; rather 
he must fairly take hold of the congregation and 
lead it on. He must, as it were, project him- 
self spiritually into the midst of the singers. He 
must feel a responsibility to imterest and grip 
every individual in the whole group. He will be 
physically, mentally, and spiritually weary when 
he has finished leading a service participated in 
by a large number of people, but if he discharges 
his duties faithfully and well, he is a leader in 
the fullest sense of the term. 

In addition to the personal and _ technical 
qualifications as a leader of music this director 
or minister of music and worship must be thor- 
oughly trained in the general field of liberal arts, 
and in the special field of religious education. 
As days go by and the new profession develops 
there will be courses in the colleges and depart- 
ments in the seminaries and schools of religious 
education where suitable training can be secured. 
The best equipment to be obtained to-day is 
that gained by carrying the full four-year courses, 


70 CHURCH MUSIC AND WORSHIP 


each of a standard college and conservatory of 
music, with a graduate course in an accredited 
school of religious education (such, for instance, 
as the one at Boston University or at North- 
western University) where special emphasis might 
be put upon ritual, worship, and the fine arts in 
religion generally. 

Both the academic training of the college and 
the musical training of the conservatory are 
absolutely essential as ground work, and then 
special knowledge of the problems and methods 
of religious education and church administration 
must be added that effective religious use may be 
made of the training already secured. 

The day will probably come when a special 
four-year course in Fine Arts, with specialization 
in practical music, will be more common and 
available than now, and when at graduation 
from this course one may go directly to a theo- 
logical seminary or a school of religious education 
where a special graduate course of three or four 
years will complete the general and_ special 
training essential to the work in hand. 

If leaders in the church despair of finding 
directors thus fully equipped, conscious of a great 
Christian mission, definitely purposing through 
music and art to work the will of God as revealed 
in Jesus Christ, versed in the literature of sacred 
music of all time, technically competent to develop 
the musical gifts and endowments of the people, 
to train the voices of the children, to prepare and 


MUSICAL LEADERSHIP OF CHURCH 71 


direct in public presentation the religious music 
of the masters, and, through all and in all, to 
lead the people into communion and fellowship 
with their heavenly Father, then let them turn 
their attention to preparing such leadership for 
the future. 

At present the moving-picture show, with most 
exacting standards and requirements, is finding 
abundant musical talent for its purposes. The 
same may be said of the theater in general. Let 
the church recognize the profession of leadership 
in religious music and worship, let her take 
possession of her gifted youth and train them for 
her service, let her offer repayment adequate to 
justify them in giving their lives and their art 
to the service of the church, let her train her 
ministry and consequently her laity to understand 
and appreciate the service rendered by these 
trained artists, and another generation will find 
leadership at hand. 

Even as it is to-day, given adequate financial 
support in the church budget, and the music and 
worship accorded the place it ought to have 
among the first things rather than the last and the 
“Teft-overs’; given an intelligent appreciation 
of the need and the problem on the part of the 
minister and the officiary of the church, leaders 
capable of developing themselves in great degree 
in accordance with the standards here presented 
can be found in almost any city or town. 

The trouble to-day is that the church has 


72 CHURCH MUSIC AND WORSHIP 


continually to compromise. Either her spiritual- 
minded leaders are not technically and. artisti- 
cally competent, or her trained artists have not 
the religious consciousness and purpose necessary 
to the work in hand. It is difficult to say which 
compromise is worse. Ejither one is bad. A 
religious leader who is incompetent holds back 
the progress of the church, stunts the lives and 
ideals of those who come under his care and 
keeping, and sets low standards which must even- 
tually be rooted out. On the other hand an un- 
christian director of music, organist, or soloist is 
in the Christian Church as much an anomaly as 
an unchristian minister in the pulpit. No matter 
how eloquent an orator a man might be, no mat- 
ter how skilled in the technique and methods of 
church administration, 1f he were not himself a 
Christian, he would have no place as a minister 
in the Christian Church. Quite as literally as 
the minister has the church musician, whether 
director, soloist, or organist, a ministry to carry 
on, a Christian message to impart, a service to 
perform leading to Christian profession, life and 
experience on the part of those who are placed 
under his leadership. The church musician uses 
the hymn, the anthem, the solo, or the complete 
musical work, the ritual and the liturgy of the 
church as his instrument. The minister uses his 
sermons, addresses, prayers, personal conferences 
and other means of imparting Christian ideas 
and ideals for his. 


MUSICAL LEADERSHIP OF CHURCH 73 


The church must have leadership in its music 
and worship that is at once artistically competent 
and spiritual-minded. And if she has it not, 
as already intimated, it is largely her own fault. 
Let her address herself immediately and with 
determination to the problem, and in years to 
come she will find and be able to claim the min- 
istry and service she so greatly needs. 


D. THe QvuESTION oF AcTIVE CONGREGA- 
TIONAL LEADERSHIP 


In many quarters the question arises as to 
whether or not it is desirable to have a director, 
song leader, precentor, or whatever he may be 
called, standing before the congregation, waving 
his arms, talking between the stanzas of the 
hymns, generally making his presence obvious 
and possibly opprobrious. 

There is a good deal to be said on either side. 
The practical experience of many churches war- 
rants an unwillingness to bring such active lead- 
ership into the church service. One reason for 
this is the type of musical leadership developed 
by the so-called community singing movement. 

There is much possibility of good, of genuine 
contribution to the artistic and cultural side of 
life in this movement. But the possibility, in 
most cases, is neither realized nor even approached 
in actual practice. The average “community 
sing” is a kind of cross between a musical bur- 
lesque and a vaudeville show, and, with a few 


74 CHURCH MUSIC AND WORSHIP 


brilliant exceptions, the successful leaders are 
characterized quite as much by their antics, 
smiles, quips, and jokes as by any particular 
artistic gift, constructive program, or clear pur- 
pose to further love for music and competency 
of musical expression on the part of the people. 
The community singing movement, as witnessed 
in its most common manifestations, has no serious 
contribution to make either to the art of music 
or of worship. 

Now, this unfortunate type of leadership, as 
stated in an earlier chapter, with a superficial 
attitude toward the task in hand, with a con- 
ception of mass singing that does not rise above 
that of the cheer leader at a football game, is 
often transferred bodily to our churches, and, 
with very little tempering, let loose upon that 
portion of the service generally spoken of under 
the title of “Worship and Praise.” 

A second reason why many congregations 
become discouraged with the attempt to actively 
lead them in worship and song is the fact that 
sometimes an earnest and sincere director “‘talks 
his service to death.” He has amassed many 
ideas on the subject of congregational song, some 
of them none too well digested; he has read several 
books on hymnology and his mind is full of hymn 
stories (some of them are absolutely unauthentic 
and probably pure figments of imagination—but 
he hasn’t taken the trouble to verify them); and 
now he comes before his waiting congregation 


MUSICAL LEADERSHIP OF CHURCH 75 


and finds himself overcome by the temptation 
to talk much and long and have the congrega- 
tion sing and worship little or none. 

This is not a hopeless case. If there are high 
ideals, a real vision, a spirit of application to 
thoughtful study, and a genuine devotion to the 
cause of true worship, this director may easily 
learn to guard himself and modify his methods 
until he can successfully lead men and women 
through song and ritual and liturgy into the very 
mood of communion with God. 

But he must remember that while he is talking 
the congregation is not worshiping. It is possible 
they may be preparing themselves to worship, 
and if that for which they make preparation is 
finally accomplished there is no criticism. But 
if the service simply resolves itself into an illus- 
trated lecture on hymnology it has failed of its 
highest purpose. | 

There is a third objection which arises even 
in the absence of reason for either of the two 
just mentioned. This is that the presence of a 
director, even though he be reverent, earnest, 
and competent, mars the service, and causes the 
congregation to center its thought and attention 
upon the director rather than the service itself. 

Now, in this connection the church attendant 
should remember that the concert-hall habitué 
never hears an oratorio, opera, or symphony, 
without a conductor, in full sight, directing the 
entire work. And yet the music lover does not 


76 CHURCH MUSIC AND WORSHIP 


necessarily find that his appreciation of the 
emotional and spiritual effects of the music is 
dulled, nor his response checked by that fact. 
Possibly when we have as thoughtful, well- 
trained, and adequate directing of congregational 
services of worship and song as we have in the 
case of our orchestras, opera societies, and ora- 
torio choruses, we shall not have to face so much 
objection to the presence of the director or pre- 
centor in the service of worship as we do now. 
Of course this lays something of a responsibility 
upon the church attendant as well as upon the 
congregational song leader, a responsibility to 
overcome any prejudice and to adopt a sanely 
progressive attitude toward the whole mat- 
Ler. 

From practical experience, however, it is sug- 
gested that the actual leadership of congrega- 
tional song be employed for the most part in 
evening services and at congregational rehearsals 
(see next chapter) and that in the regular and 
somewhat formal morning service the people be 
permitted to sing with organ leadership, putting 
into practice the principles and technique learned 
and acquired when the director was before them 
and leading them. 

In any event it is desirable that there be devel- 
oped between any congregational song leader 
and his congregation such a spirit of sympathy 
and understanding as should make very slight 
and inconspicuous gesturing on his part suffice 


MUSICAL LEADERSHIP OF CHURCH 77 


in interpreting the hymns and obtaining the 
musical effects desired. 

To the director it may well be said that in every 
service he might beneficially grade the material 
used from the more brilliant things used in opening 
or at the height of the service, to some quiet, 
devotional hymn just before prayer or sermon, 
during the singing of which he might slip away 
from his place before the congregation and allow 
them to sing from their hearts with no obvious 
leadership whatever. The way for prayer or ser- 
mon will thus effectively be prepared. 


E. Tue Cuurcu ORGANIST 


The director of the music and worship of the 
church deserves to have, and, for good results, 
must have, a thoroughly trained and competent 
player at the organ, and at the piano as well, if 
the latter is used. 

It is not altogether well understood how great 
training and musicianship is required to ade- 
quately bring forth the musical possibilities of a 
pipe organ. It is not alone a question of finger 
and pedal technique, but a question of general 
musicianship in handling of stops, tablets, and 
couplers, in relating the various manuals to one 
another so as to bring forth the genuinely orches- 
tral effect of which the modern organ is capable. 
Many pipe organs in the churches of our country 
are never heard at their best, nor even nearly 
at their best, for the simple reason that trained 


78 CHURCH MUSIC AND WORSHIP 


organists do not play them. The loss here is not 
alone a loss of musical and esthetic enjoyment, 
but of genuine spiritual power and effectiveness 
of the church service. Many a congregation 
would be astounded to hear what a genuinely 
competent organist could do with the organ they 
have grown so accustomed to hear from Sunday 
to Sunday, and which never inspires them nor _ 
lifts them nor thrills them in the least. 

The moving-picture theaters are attracting 
thousands to their presentations by the quality 
of organ playing to be heard—not alone playing 
of “jazz”? and “‘rag-time” but the playing of truly 
great and good music. Within a fortnight one 
of the leading organ builders of this country said 
to the writer that not only were the moving- 
picture theaters rejuvenating the trade of organ 
building, but that the real quality of the pipe- 
organ as a musical instrument had been prac- 
tically lost, and that to-day the theater is bringing 
that back. 

Now, the church should have professional 
playing at its organ. Here is no place to afford 
experience and practice to a beginner or poor 
student. Let that be done in lesser services, or 
better still, im the practice rooms of the con- 
servatory. And let the church organ be opened 
to qualified and responsible persons for practice 
during the week. It is blind and foolish procedure 
as well as selfish, for so many churches to lock the 
organ after the Sunday service and refuse to let 


MUSICAL LEADERSHIP OF CHURCH 79 


anyone use it for another week, unless it be the 
regular organist in preparation for the church 
services. In towns and cities distant from musi- 
cal centers organ instruction should be carried 
on in the church and under the auspices of the 
church. Everywhere the church should actively 
encourage development of organ playing. 

But the church organist who plays for the 
services of worship and accompanies the choral 
and congregational singing should be a profes- 
sional player, engaged for competency and serving 
only so long as satisfactory service is rendered. 
As a very general rule, no member of a congrega- 
tion should ever be engaged as organist, nor as 
director of music and worship. ‘This is a delicate 
subject, and many and generous exceptions must 
be made, but it is a principle or rule that ought 
to be frankly dealt with. The writer makes the 
statement as a result of extensive personal ex- 
perience, and as a result of almost innumerable 
conferences with both ministers and professional 
musicians. 

The member of a congregation who holds a 
position of musical leadership, either as director, 
accompanist, or soloist, is too likely to be retained 
for sentimental reasons rather than for reasons 
of competent artistic and religious service. If 
there be numbered among the congregation 
thoroughly competent musicians, they can secure 
positions in other churches without difficulty. 
If they are not competent enough to serve in 


80 CHURCH MUSIC AND WORSHIP 


other churches, they are not equipped for similar 
service in their own church. 

The securing of professional leadership for the 
music and worship of the church ought to be 
regarded in exactly the same light as the securing 
of professional ministerial and pastoral leader- 
ship. And just as it is advisable that occasional 
changes should be made in the one field of service, 
so, as a general rule, similar occasional changes 
should be made in the direction and administra- 
tion of the program of music and worship. 

The writer is a pastor and understands that 
charity and patient forbearance, as well as dis- 
creetness and tact, must enter into this whole 
problem, and that often other considerations than 
a mere bettering of musical leadership must weigh 
in the question of effecting a change of personnel. 
He simply states here frankly and plainly what he 
believes to be one thoroughgoing principle that 
applies to the selection of such leadership. 


F. Leapersuie IMMEDIATELY AVAILABLE 


It is quite probable that a great many churches 
whose ministers and leaders are possessed of a 
genuine desire to raise the standards of music 
and worship cannot afford, even if they can find, 
such leadership as has been described. These 
should take courage and, in the light of such 
ideals as are here advanced, or of others which 
may be accepted, go forward just as far and as 
fast as is practically possible. 


MUSICAL LEADERSHIP OF CHURCH 81 


Congregational leadership on the part of the 
average pastor is quite possible. What he may 
lack in technique and musical ability he can 
atone for in a genuinely spiritual conception of 
his task, and with the aid of a competent accom- 
panist he may go far toward developing this 
part of the program. 

Some music teacher or public-school music 
instructor may be found in almost any city or 
town, musically competent, who can and will 
develop himself or herself as far as possible for 
true religious services, who will be glad to under- 
take the children’s choir work. (See Chapters 
VIT, VII and IX.) 

This leaves the problem of securing competent 
direction for the Senior Choir (see Chapter XI) 
which may be done by engaging and bringing 
into the community a director and teacher, by 
adding a religious worker trained in the field of 
music and worship to the church staff, or possibly 
by some cooperative effort such as those described 
in Chapter XII. The writer does not wish to set 
up so ideal a standard and so expensive a program 
as to discourage any progressive effort anywhere, 
but he does desire to establish some kind of 
standard which may serve as a guide, and which 
may be accepted as it stands or with any necessary 
or desirable modifications. 


CHAPTER V 
CONGREGATIONAL SINGING 


A. CONGREGATIONAL SONG REHEARSAL 

The congregation should be conceived and 
treated as the most important unit in the entire 
organization of the church for religious education 
in music and worship. This being true, there 
must be imaugurated rehearsals for this group. 
It is quite illogical to seek to inspire a congre- 
gation to sing and to fail to teach it how to sing. 
Not only does the congregation need and deserve 
careful rehearsal for its part in the service of wor- 
ship quite as much as any choir, quartet, or soloist, 
but its need and desert is really greater than that 
of any of these, for the congregation as a whole 
is at_once less averagely capable and laden with 


a ‘greater responsibility than any other group. ; 
The congregation must be considered asa. 


great choir or chorus, and treated as such, with 
careful instruction and drilling in the part it is 
to have in the service of worship and praise. 

This rehearsal must be held at a time when the 
congregation is in attendance. The theoretical 
ideal would be a special rehearsal held some time 
during the week, possibly in connection with the 
midweek prayer service. Such a rehearsal has 
value, and incidentally has more than once 


builded up the attendance at the prayer service. 
82 


a oe 


CONGREGATIONAL SINGING 83 


But from practical experience it may be affirmed 
that im most cases no very great proportion of 
the Sunday congregation will attend such a 
meeting. And to rehearse with fifty to a hundred 
people during the week, when the Sunday con- 
gregations number from five to ten times that 
number, is as great a falling short in preparation 
as to rehearse with the same proportion of a choir 
or quartet. For good results the rehearsal must 
be held at a time when the congregation is present 
in full numbers. 

In some cases such a rehearsal would have to 
be held in connection with the Sunday-morning 
service. This is not impossible to carry out with 
satisfaction, though it is difficult. Rehearsal can- 
not very well be incorporated in a formal service 
of worship. When held on Sunday morning it 
is generally best to place it at the close of the 
service. Admittedly this may somewhat mar 
the spiritual effect of the service itself, but if 
there is no other time, it will be better to have 
such a rehearsal occasionally at this time than 
to have none at all, for only thus will a progres- 
sive work be done to develop the congregational 
talents and powers for public worship. When 
the pastor and leaders of a church come to under- 
stand the need and possibilities of this kind of 
training, they will make great effort, if necessary, 
to give the congregational rehearsal a proper 
setting and introduction from time to time, even 
in the morning service. 


84 CHURCH MUSIC AND WORSHIP 
The church school affords a splendid field for 


such rehearsal in preparation for the services of 
the church itself in years to come. The writer — 
firmly believes the ‘“‘opening session” of the 
church school should be a genuine service_ of 
worship. It is not at all too much to ask that 
this service be held in. the church. auditorium 
itself, the church organ used for the support, the 
Junior and Intermediate Choirs, and even occa- 
sionally the Senior Choir and solo quartet used 
in leadership, and every possible effort put forth 
to make the service as rich and inspiring as 
though it were the stated service of the church. 
The effect of such services upon the religious 
life of the pupil in the church school will be 
exceedingly beneficial. The whole atmosphere of 
the school will be spiritualized. The problem 
of discipline will be more easily solved, and the 
class work enhanced. Simple ritual, carefully 
planned and ordered services, use of choir vest- 
ments, the careful development of an atmos- 
phere of devotion and worship should enter into 
the program of every church school. 

But in the process of this service the most 
practical educational effort that can be made 
will be the conduct of the congregational song 
rehearsal. As to the method and manner of 
conducting it, the same principles obtain as apply 
to the rehearsal in a regular church service, 
principles which will be set forth in a following 
paragraph. 


CONGREGATIONAL SINGING 85 


The very best time to hold this rehearsal for 
immediate effect in the life and worship of the 
church, provided the attendance is fairly repre- 
sentative of the whole congregation, is at the 
evening service. The rather informal spirit and 
atmosphere, the freedom in most churches to 
vary and rearrange the order of service, the 
greater freedom that is felt by the attendants 
themselves at the evening service, all tend to a 
successful introduction of the rehearsal at this 
time. 

Probably as good a method as any is to open 
the evening service reverently and earnestly with 
voluntary, hymn and invocation. Then let a 
ten- or fifteen-minute period be set aside for the 
sake of rehearsal. Let it_be understood.that.this 
period is not at all a period of worship, but strictly 
a period of preparation for worship. As earnestly 
as the leader or director of the music is urged 
not to talk too_ much, nor to obtrude himself 
during the periods of worship, let him be urged 
at this time to be entirely free, to frankly and 
plainly deal with the congregation just as he 
would with a smaller group. Let him set before. 
them the _ possibilities of _. congregational _ song, 
point out to them the principles they may learn 
and observe in their participation in the service, 
illustrate these principles to them with his own 
voice and with the choir, repeatedly take them 
through certain more difficult portions of hymns 
or chants or responses—in short, let him actively, 


386 CHURCH MUSIC AND WORSHIP 


and even aggressively, exhort and rehearse the 
people In every phase of public worship. 

It is not the singing of hymns and gospel 
songs alone that needs development and improve- 
ment, but the singing of--doxologies, “Glorias”’ 
and chants, the reading of responsive and unison 
Scripture selections, the attitude of mind and 
heart the people must have, that they must 
willfully and purposely enter into for the sake of 
making every service the greatest possible con- 
tribution to the building of the kingdom of Christ. 

No phase of public worship should be over- 
looked or neglected. But in the presentation of 
the five principles of congregational singing 
indicated in the following pages practically every 
necessary principle of public worship is involved. 

With proper leadership, informal to__some 
extent so that the people shall be won to a warm- 
hearted, personal response _to..every challenge 
and exhortation, but very sincere, earnest, and 
reverent, with a constant reflection that the final 
end to be attained is not loud and enthusiastic 
singing, nor simply a spirit of great interest in 
the service, but such an attitude and atmosphere 
of worship as comes only from a vivid sense of 
communion with God and. fellowship with..Christ,. 
a great development and progress in the spiritual 
welfare of the people and in the power of the 
public services is absolutely certain to come. 

The rehearsal is carefully distinguished from 
the period of worship in its introduction, but 


CONGREGATIONAL SINGING 87 


every rehearsal should lead finally into genuine 
worship in which all didactic lecturing and obvious 
exhortation, illustration, explanation, and exem- 
plification should cease. 


B. Five Principtes oF CONGREGATIONAL 
SINGING nr 


The leader of congregational song must have 
definite principles to guide him in his rehearsal. 
Otherwise there will be no consistent progress, and 
the rehearsals themselves will degenerate into 
nonconstructive, “‘hit-or-miss” efforts, lacking in 
value or interest to all concerned. | 

Ali singing is and must be founded upon certain 
fundamental principles. These principles are the 
same whether applied to quartet, choir, chorus, or 
congregation. But in presentation to the congre- 
gation.as_a whole they must _be modified and 
simplified.so that every person may comprehend. 
them, whether musically trained,.or not. Yet 
they must possess such validity as to recommend 
them to the most gifted and highly trained musi- 
cian in the entire group. 

From those principles which apply in all choral 
and choir development and training the following 
five have been chosen and stated to fit into the 
scheme of congregational rehearsal. Each prin- 
ciple has a definite musical significance, and at 
the same time what may be called a psychological 
significance, in that it serves not only to train 
the people to sing well, but actually leads them 


88 CHURCH MUSIC AND WORSHIP 


into a spirit and attitude of truer participation 
in the service of worship as such. 

In a special introductory rehearsal all of these 
principles may be stated to the congregation, 
exemplified, and practiced in a single thirty-_to 
forty- minute period. But in the regular.ten- 
to fifteen-minute rehearsals they are meant 
rather to give the leader a basis for his directing 
than to be presented bodily to the people. As 
given here they are arranged in sequence of the 
writer’s estimate of their importance. However, 
there is no one principle of them all that can be 
omitted. They are as follows: 

1. United (and Unanimous) Singing. Generally 
speaking the end and aim of the song leader’s 
effort has been to get everyone to sing and to 
sing loudly. When this was accomplished his 
work was done, and was considered successful. 

But this should be the very first thing one 
might take for granted—that everyone in the 
congregation will participate. As a matter of 
fact, however, there is a good deal of preaching 
and teaching necessary that this result may be 
brought about. 

It is the very first and most fundamental 
principle that every member of a given congrega- 
tion has a privilege and a responsibility to parti- 
cipate in the service of song and worship, actively, 
purposefully. 

Ensemble singing has been one of the greatest 
delights of mankind through all time. It is for 


CONGREGATIONAL SINGING 89 


this reason that the great oratorio choruses and 
singing societies have persisted in all the nations 
of the world. All the joy of musical expression, 
of fellowship in the producing of music that will 
inspire and hearten those who sing and those 
who listen, of participation in an effort which 
enriches the knowledge and culture of mankind— 
all of this is involved in congregational singing 
where hymns and songs of true worth and dignity 
are sung. 

But in religious singing there is something more 
than this. As has been pointed out, congrega- 
tional singing has been through time one of the 
greatest agencies of religious uplift and inspiration. 
It helps the singer to higher levels of spiritual 
experience and thought, and it reaches out to 
influence those who hear to a similar elevation of 
life. It brings men and women in great numbers 
into touch with the gospel of Christ, and it 
develops in their hearts and minds a new concep- 
tion of the possible richness and beauty in life 
that is part of that “more abundant life” Christ 
came to bring. 

It is a great privilege to participate in the 
Christian service of worship and song; and if, as 
in but few instances is the case, there is an abso- 
lute physical or musical disability to sing, there 
is nevertheless the possibility of entering men- 
tally and spiritually into the service. 

But participation in the public service of music 
and worship in the Christian Church is not a 


90 CHURCH MUSIC AND WORSHIP 


privilege to be lightly accepted or rejected. To 
those who understand its meaning and signifi- 
cance it is a real responsibility. 

No matter how large the congregation, no 
matter how general the participation in the 
service of worship and song, any single individual 
who fails or refuses to actively participate causes 
the possible perfection and power of the service 
to be detracted from in some very definite measure. 
His attitude amounts either to indifference as 
to whether the Christian service of worship shall 
attain its fullest possible power, or to an absolute 
and evil purpose that it shall not. ‘auee 

No member of a congregation should consider 
that he is less responsible to do willingly and as 
well as possible that which is committed to him 
in the service of worship than is the minister in 
the pulpit to offer his prayer and deliver his ser- 


mon. No one _has_a Christian right to remain _ 


silent and impassive. during any feature of the 
service. No one save God has a right to listen 
to the congregational singing and participation 
in the ritual and liturgy. And often enough 
when great congregational singing is in progress 
it is easy to believe that God and all the heavenly 
hosts are themselves participating in the music of 
earth-born men. 

The public service of worship is one of the 
choice and divinely ordained means of carrying 
on propaganda for the Christian message and 
teaching. Every Christian, every attendant upon 


CONGREGATIONAL SINGING 91 


the service should feel that he has a great respon- 
sibility to aid as effectively as possible in this work. 
He is not there to be entertained, but to serve 
as one of the soldiers in the army of the Lord 
Christ. 

From a psychological standpoint it may be 
charged that many a church member and attend- 
ant comes into the service, drops in his seat, and 
adopts an attitude toward minister, choir, and the 
congregation in general which, translated into 
words, would actually say: “Here I am. I have 
done you the favor and honor to come to your 
service; now see whether or not you can make 
me enjoy it.” His comment upon the service 
afterward is tinged very greatly with this same 
attitude. He does not consciously purpose to 
be antagonistic to the work in hand, but he 
actually is until won over as the service pro- 
gresses. Now, the man or woman who fully 
comprehends the significance of the public service 
of worship will come to that service, purposing 
from the moment he enters the door of the church, 
by his attitude of mind, by the spirit of his re- 
sponse to the call to worship and song, by his 
acceptance of the pastoral prayer and the choir 
anthems or other special features of the service 
as vicariously offered up for him, by his whole 
personal attitude.to..dohis.full part to make 
that particular service set the work of the 
Christian Church just as far ahead as possible. 
Now, of course, the choir, the minister, and every 


92 CHURCH MUSIC AND WORSHIP 


other special participant or leader in the service 
has great responsibility to so conduct the service, 
to so appeal to and lead the people as to inspire 
them to eager and reverent participation. But 
these folk have their lectures on how to conduct 
the service regularly. It is time for the congre- 
gation to have presented to. it its own responsi- Ne 
bility. 

So let the congregation be taught as ie first 
principle of congregational singing, and of all 
worship, that it has a great privilege and a binding 
responsibility to actively participate in the service. 
Just_as every member of a choir_or an_oratorio 
chorus understands that by virtue of his presence _ 
in the organization he is expected | to do his share 
in making the whole result as perfect as possible, 
so every member of the congregation should be 
led to understand that he may rightfully be ex- 
pected, by very virtue of his presence in the con- 
gregation, to participate in the service. 

2. Tone Production. The subject of vocal 
tone, of methods of producing good tone, of 
properly “placing’’ the tone, and kindred matters 
is a complex one, and opens up a field for study 
and experiment technical in the extreme. 

Private teachers recognize as a great part of 
their task the development of: good tone quality 
on the part of the pupil. Directors of choirs and 
choruses in somewhat less measure do likewise. 
The writer has for years given over a portion of 
every choral or choir rehearsal to lecturing upon 


CONGREGATIONAL SINGING 93 


tone production and to rehearsing the singers in 
singing vowels in scales, arpeggios, and on single 
sustained tones with the definite purpose of 
developing on the part of the singing group a 
“bright,” ‘“forward-placed,’ highly resonant 
tone. 

In dealing with a congregation, however, this 
effort must be greatly simplified. Not many 
congregations would benefit much from lectures 
on tone placement. Something is possible, how- 
ever, in the development of the fullest possible 
richness, depth, solidity, and volume of tone. 
And all this is desirable in the singing of the 
congregation. 

Three things may be presented to the congre- 
gation to this end. first, let everyone be urged 
to open the mouth freely and easily, and to sing 
without.restraint. Second, a smiling countenance 
has a tendency to beget good tonal quality. 
The least effort to “look pleasant” will actually 
work a transformation in the tone of many 
singers. And, third, and most important and 
most practical, the people can be urged to_phys-. 
ically prepare themselves to sing, to give of their 
bodily strength to the service. | 

‘John Wesley was much interested in the singing 
of the congregations of the Wesleyan movement, 
and in one address to his ministers, urging upon 
them their duty to teach their people to sing, he 
caustically referred to those people of the congre- 
gation who are found “lolling at ease, or in the 


94 CHURCH MUSIC AND WORSHIP 


indecent posture of sitting, drawling out one word 
after another.” 

This does not precisely fit conditions to-day, of 
course, and there may be times when it is well 
for the people to remain seated for song. But 
they can be urged to look upon the hour of reli- 
gious service, not as a time for resting, but, 
rather, as a time for output of mental, spiritual, 
and even physical energy. They can and should 
be urged tg put physical vigor into their singing, 
to make a positive physical effort, to sit or stand 
erect, with firm chests. 

Let an average congregation of one hundred 
people accept and put this principle into practice, 
let them unitedly enter into the song service, let 
them sit or stand easily but firmly erect, let them 
take up the hymn with a definite fie oal effort, 
and the resultant tone, both as to quality and 
volume, will surpass that produced by another™ 
congregation of many times the number of people, 
passive, lazy, and inactive in their participation 
in the service. 

Let the congregation then be urged to have a 
thought for the joyful nature of its task, to let 
the natural smile of praise and worship, the 
natural glow of the eye have its way, to devote 
the physical body to the worship of God, and the 
singing tone will be revolutionized. 

3. Intelligent Singing. The hymns, anthems, 
choruses, oratorios, and other forms of sacred 
music of the church are, from the literary stand- 


CONGREGATIONAL SINGING 95 


point, expressions of praise, prayer, exhortation, 
and worship, penned for the most part by men of 
great minds and reverent hearts. The religious 
sentiments common to all mankind have been 
expressed in artistic manner by masters in these 
works. 

What a privilege for him who is moved to 
express his religious conviction or emotion to 
find in these great works of literary and musical 
art _means of expression ready at hand and easily 
available, which he can appropriate and use as 
his own! 

And yet, ofttimes, the people in the congre- 
gation do not think the hymns as they sing them, 
the prayers and special musical selections as they 
hear them. They do not consciously appro- 
priate them as expressions of their own worship, 
their own desire and purpose that men every- 
where shall be won to Christ and the kingdom of 
God brought into being here upon earth. 

For instance, how often does the individual 
worshiper take upon his lips the words of Robert 
Grant’s hymn “O Worship the King,” his heart 
exultantly leaping to the great thought that 
God is “Our Shield and Defender,” that he is 
“Our Maker, Defender, Redeemer and Friend’’? 
Too often.that really wonderful hymn of praise, 
of exultant, exuberant, outbreaking worship, is 
formally, mechanically, passively sung, so that 
no emotion is stirred, no heart made to leap in 
response. 


96 CHURCH MUSIC AND WORSHIP 


What a beautiful and reverent prayer is voiced 
in the hymn that opens 


“Sun of my soul, thou Saviour dear, 
It is not night if thou be near: 
O may no earthborn cloud arise 
To hide thee from thy servant’s eyes.” 


That hymn carries one in prayer through the 
greatest material and spiritual needs man can 
have, and finally rises sublimely to cry out, 


“Come near and bless us when we wake, 
Ere through the world our way we take; 
Till in the ocean of thy love, 

We lose ourselves in heaven above.” 


Yet how often has that, and many a kindred 
hymn, been sung with never a conscious addressing 
of it to God in the true spirit of entreating prayer! - 

How many men or women purposely and 
willfully address themselves to some _ fellow 
Christian when they sing that song of urgent 
exhortation, as direct and challenging as any 
that ever came from the lips of an evangelist: 


“Stand up, stand up for Jesus! 

Ye soldiers of the cross; 

Lift high his royal banner, 
It must not suffer loss: 

From victory unto victory 
His army shall he lead, 

Till every foe is vanquished 
And Christ is Lord indeed.” 


CONGREGATIONAL SINGING 97 


In each stanza of this exceedingly familiar 
song this direct and compelling challenge is re- 
newed, with the final glorious promise that 


*To him that overcometh, 
A crown of life shall be; 
He with the King of glory 
Shall reign eternally.” 


Yet too often there is no evidence that many 
members of congregation or choir really exert 
themselves in singing this hymn to rally their 
brethren with themselves round about the banner 
of the Lord. This same thought applies to the 
use of another militant hymn of Christian con- 
quest: 

“Onward, Christian soldiers! 
Marching as to war, 
With the cross of Jesus 
Going on before.” 


Then there is that other type of hymn, the 
hymn of consecration or dedication, that must 
needs be sung from the very heart, no matter 
how often sung, nor when, nor where, but which 
too often is “just sung and that is all.’ Such a 
hymn, for instance, as the one by Benjamin 
Copeland, beginning, 


“Christ’s life our code, his cross our creed, 
Our common, glad confession be; 
Our deepest wants, our highest aims, 
Find their fulfillment, Lord, in thee.” 


98 CHURCH MUSIC AND WORSHIP 
Or that other one, 


“Just as I am, without one plea, 
But that thy blood was shed for me, 
And that thou bidd’st me come to thee, 
O Lamb of God, I come!” 


Involved in this matter of singing hymns 
thoughtfully, with consciousness and appropri- 
ation of their meaning and significance, is the 
more technical problem of phrasing them. It 
is really a sign of thoughtlessness when the con- 
gregation chops up the sentences of the hymns 
without regard to their completion and _ their 
meaning. ‘The phrasing and punctuation of the 
hymn that is sung should be as carefully and as 
thoughtfully noted as in the case of the poem 
that is read aloud. Seldom does a congregation 
sing Henry F. Lyte’s beautiful prayer hymn, 
“Abide With Me,” without phrasing the third 
line thus: 


*‘When other helpers—fail, and comforts flee.” 


And yet there is no difficulty whatsoever in carry- 
ing that line through to the comma before taking 
a breath, thus correctly phrasing and expressing 
its meaning: 


“When other helpers fail,—and comforts flee, 
Help of the helpless,—O abide with me?” 


Very effectively does this apply to the two 
lines of the closing stanza of this same hymn, 


CONGREGATIONAL SINGING 99 


where a careful observation of the punctuation 
marks, with a complete silence at each, gives a 
finish and impressiveness to the close of the hymn 
that could not otherwise be attained: 


‘““Heaven’s morning breaks,—and earth’s vain shadows 
flee; 


~ In life,—in death,—O Lord, abide with me.”’ 


The same is true of the closing lines of the last 
stanza of “O Worship the King”’: 


“Thy mercies how tender!—how firm to the end!— 
Our Maker,—Defender,—Redeemer and Friend.” 


And likewise of the closing lines of “How Firm 
a Foundation”: 


‘That soul tho’ all hell should endeavor to shake, 
Ill never,—no, never,—no, never forsake.”’ 


By adequately phrasing, with a silent period 
as far as practicable at each punctuation mark, 
a splendid musical and emotional result can be 
obtained in the congregational singing of many 
hymns, sometimes, as in the cases just noted, 
giving that climactic force and power needed for 
an effective conclusion. 

Ofttimes this simple principle, applied to a 
familiar hymn, will give it a new meaning and 
new power. ‘Take, for instance, Charles Wesley’s 
hymn “Come, Thou Almighty King.” ‘There 
is a great word of petition, “Come.” Then 
there follows reverent, awed address to God, the 


100 CHURCH MUSIC AND WORSHIP 


Father Almighty, “thou almighty King.” Then 
comes the prayer proper, “Help us thy name to 
sing.’ Let the congregation sing the word 
“Come,” conceiving it as prayer, phrasing after 
it, then addressing God in the fullness of musical 
and religious worship. Follow this throughout 
the hymn. In each stanza there is the word of 
entreaty, then the address to one member of the 
Trinity, then the prayer. 

It might be said that this principle simply 
means that a congregation is to be taught to sing 
with some consideration for the grammar of the 
hymn. It means particularly that the mind is 
to be bent to the task of worship, and that the 
individual will apply himself to every feature of 
the service of worship with consideration for its 
meaning, its significance, and with a purpose to 
make it his own in as great degree as possible, 
for the time being. 

4. Musrcal Singing. (1) Hymn Interpretation. 
The fine shades and contrasts in tempo, fast and 
slow, retards and accelerandos, and likewise in 
dynamics, varying from the softest pianissimo 
to the loudest fortissimo, are not quite practica- 
ble in congregational singing. And, for the most 
part, the music sung by congregations as a whole 
does not require this. Some degree of interpre- 
tative singing in these respects, however, is pos- 
sible. For instance, in such a hymn as “Day 
Is Dying In the West,” it is quite possible, and 
very effective, for the congregation to begin the 


CONGREGATIONAL SINGING 101 


stanza quite softly, and to gradually increase the 
volume of tone as the music mounts to the 
higher pitches of 


“Wait and worship while the night 
Sets her evening lamps alight,” 


with a decrescendo in singing the line 
“Through all the sky.” 


Then the refrain may be correspondingly inter- 
preted, beginning quite softly with 
“Holy, holy, holy, Lord God of Hosts,” 


and rising through the third line, 
“Heaven and earth are praising thee,” 
to a tremendous climax in the fourth, 
“O Lord most high!” | 
So with another beautiful evening hymn, “The 
Shadows of the Evening Hours,” by Adelaide A. 


Procter. This hymn, sung to the tune Saint 
Leonard, in the fifth line may begin quite softly, 


“Before thy throne, O Lord of heaven,” 
crescendoing through the text, 
“We kneel at close of day,” 


attaining the full climactic power of urgent en- 
treaty in the seventh line, 


“Look on thy children from on high,” 


and sinking away into the calm of trust. and 


102 CHURCH MUSIC AND WORSHIP 


confidence that is born of faith that God will 
hear and answer prayer as the last line is sung, 


“And hear us while we pray.” 


In these two hymns the curve of crescendo and 
diminuendo follows the rise of the melody. It 
will suggest itself naturally to any musical person, 
and all the leader needs to do is to set before the 
congregation just what the scheme of interpre- 
tation is to be and a very powerful and effective 
result can be obtained. 

In another hymn, generally classed as an 
“Evening Hymn,” though it is adaptable to any 
service, since the “‘eventide” of which it speaks 
is the evening of life approaching death, rather 
than the evening of the natural day, Henry F. 
Lyte’s “Abide With Me,” the interpretation may 
closely and effectively follow after and accord 
with the meaning of the words. So the hymn 
will begin with thoughtful, earnest, but somewhat 
anxious prayer, in the spirit of the sick man who 
faced death in the immediate future as he penned 
the words, 


‘Abide with me! Fast falls the eventide.”’ 
In the second stanza the swift onrush of death 


hastens the heart beat and quickens the anxious 
pace of the music: 


“Swift to its close ebbs out life’s little day,” 


but the heart steadies again and the soul quietens 
in the putting up of the prayer of the last line of 


CONGREGATIONAL SINGING 103 


the stanza, which is prayer and expression of 
faith at the same time, 


“O thou, who changest not, abide with me!” 


In the third stanza calm trust, steadying mind 
and heart, winning in the fight with anxiety and 
despair, expresses itself in measured and firmly 
rendered song, 


“T need thy presence every passing hour; 
What but thy grace can foil the tempter’s power? 
Who like thyself, my guide and stay can be? 
Through cloud and sunshine, Lord, abide with me.” 


Then in the fourth stanza comes the great 
outburst of faith and confidence, of sublime 
courage in the face of impending death that 
comes to the sick writer of the hymn as, in mystic 
spirit of communion with God, he senses the fact 
that his prayer is certain to be answered and that 
God will abide with him through the present and 
the coming trials: 


*T fear no foe, with thee at hand to bless; 
Ills have no weight, and tears no bitterness; 
Where is death’s sting? Where, grave, thy victory? 
I triumph still, if thou abide with me.” 


No stanza of any militant hymn of Christian 
conquest should be sung with greater confidence, 
zest, and eager spirit of joy and faith than this 
one. It is the majestic climax of the great prayer 
hymn, and expresses in fullness and power the 


104 CHURCH MUSIC AND WORSHIP 


victorious spirit of the true Christian facing the 
end of this present lie. 

Then the last stanza affords a kind of résumé 
of the spirit of the entire hymn, beginning with 
the quiet, entreating prayer,: breathed forth in 
the full sense of approaching death, and rising 
to the most glorious and exultant conclusion 
possible, a conclusion that calls for a sudden and 
great contrast in the spirit and volume of the 
singing, with a great broadening, retarding, and 
careful phrasing of the last line: 


“Hold thou thy cross before my closing eyes; 
Shine through the gloom and point me to the skies; 
HEAVEN’S MORNING BREAKS, AND EARTH’S VAIN 
SHADOWS FLEE; 
IN LIFE,—IN DEATH,—O LorD, ABIDE WITH ME.” 


This same principle of interpretation, following 
closely the sense and meaning of the words, ap- 
plies to such a glorious hymn of praise and exult- 
ant joy as “All Hail the Power of Jesus’ Name.” 

This great hymn, one of the very finest for 
congregational singing, should invariably be sung 
to the tune “Miles Lane.”’ The repetition of the 
words “‘And crown him, crown him, crown him,” 
with the pitch of the music rising higher with 
each repetition, provides a very effective oppor- 
tunity for increasing volume and soaring exul- 
tation to a tremendous climax in the words which 
close each stanza, 


“Crown him Lord of all.” 


CONGREGATIONAL SINGING 105 


Another hymn which should be carefully inter- 
preted to give life and true spirit to the words is 
“Nearer, My God, to Thee.” Too often this 
hymn is begun in a kind of mournful and solemn 
spirit and thus sung throughout. But there is 
a very genuine rise in the thought and spirit, and 
consequently in the volume and zest of the singing 
from those words of the first stanza, 

“Nearer, my God, to thee, 
Nearer to thee! 


E’en though it be a cross 
That raiseth me,” 


to those of the last stanza, 


“Or if on joyful wing 
Cleaving the sky, 
Sun, moon, and stars forgot, 
Upward I fly, 
still all my song shall be, 
Nearer, my God, to thee.” 


These are but a few illustrations from many, 
and are introduced here with the hope that they 
may afford a kind of standard according to which 
leaders may work for greater interpretative con- 
trasts and development in congregational singing. 
But beyond these rather elementary principles 
of interpretation both on account of the type of 
music sung and of the type of singing group 
concerned, there will probably be neither need 
nor possibility of going. 

There are two remaining principles of ensemble 
singing, however, which can practicably be ap- 


106 CHURCH MUSIC AND WORSHIP 


plied, and greatly need to be applied to congre- 
gational singing. 

(2) Diustinct Singing of Chords and Syllables. 
Practically every measure of 
hymnic music consists of a num- 
ber of successive chords of mu- 
sic and syllables of words. Now, 
in the singing of the average 
congregation these chords and 
syllables are not distinctly and 
cleanly sung. Rather they over- 
lap and lean upon one another. 
If, for instance, we consider the 
hymn “Come, Thou Almighty 
King,” we find three chords 
and three syllables in practi- 
cally every measure. Now, let 
three fingers of the hand be 
held up together as above 
and we have an illustration of 
how this is usually and wrongly 
sung. The voices drag, slide, 
slur, drawl, glissando from one 
chord to the next. There is 
no clean-cut, progressive onward 
march of the music. It is life- 
less, uninspiring, slovenly. 

Now let the three fingers be 
separated as here shown and we 
have an illustration of how this hymn ought 
to be sung, each chord standing cleanly by 








CONGREGATIONAL SINGING = 107 


itself, every syllable of every word sung 
forth clearly and distinctly by every voice. 
The singing of the congregation with the appli- 
cation of this one principle immediately gains 
cleanness, distinctness, forward movement, life, 
inspiration. In rehearsal with the congregation 
the people may be urged to sing each syllable and 
chord in a_ semi-staccato manner, separating 
them almost with a silence, as follows: 

Come, — thou — Al — might — y — King, — 

Help — us — thy — name — to — sing, — 

It is true that this seems to disregard the pure 
legato of ideal singing, but the total result with 
a congregation will be about what is desired. 
This presentation may be termed “pedagogical 
exaggeration,” but musical readers will instantly 
see the end and aim of the method, and the 
effectiveness of the means employed to attain it. 

(3) Accent and Rhythm. The principle of ac- 
cent is one of the rudimentary principles of 
music, but one almost entirely neglected in 
congregational singing. -I[t is vitally essential, 
however, to good singing, and especially so in 
that it gives a rhythmical quality to the hymn 
that is sung that will greatly enhance its attrac- 
tiveness and its effectiveness. 

There has been a considerable rage for “jazz 
gospel music’ in the churches of the country 
during the last several years. It is in many 
respects an evil thing. If it does nothing more, 
it puts the church in league with cheap and 


108. CHURCH MUSIC AND WORSHIP 


inartistic music expression. ‘The fact of the mat- 
ter is that the evilis greater than this, for the 
cheap music seems naturally to ally itself with 
banal texts, with careless and inconsequential, if 
not absolutely trivial and sentimental thought. 
But one of the very clear reasons for this popu- 
larity of gospel rag-time has been the normal de- 
mand of human beings for rhythm in their music. 

Rhythm is as true and valid a characteristic of 
a selection of music as is melody, or harmony. 
But in the singing of its hymns the church has 
neglected and forgotten rhythm. In congre- 
gational singing the hymns have been dragged 
down, drawled along, crushed out of all semblance 
to rhythmical musical compositions. And then 
the ministers and leaders of the church have 
wondered why the “young people don’t love the 
great hymns of the church!’ 

Using the hymn already mentioned, “Come, 
Thou Almighty King,” this principle of rhythm 
may be illustrated thus: 

If each of the successive chords or syllables of 
each measure of the music be sung with exactly 
the same force and emphasis, the effect, from a 
musical standpoint, is very much like that of a 
man who goes tramping downtown in a pair of 
very heavy-soled boots, each foot coming down 
with a thump at every step.- Nothing more 
monotonous nor uninspiring could be imagined. 

But this hymn ought to have life. It ought 
to move forward like a young man running 


CONGREGATIONAL SINGING 109 


freely and easily. It ought to have some of the 
exultant leap and swing of a young woman dancing 
gracefully and joyously. 

In this hymn, and in practically all hymns, this 
spirit may be obtained by teaching the congre- 
gation to accent the music as it sings. The 
hymn chosen for illustration is in three-four time. 
That means that the first chord or syllable of each 
measure should be sung with more emphasis and 
force than the others, accented that is. Let this 
be done and the music immediately gains forward 
movement, life, vitality, inspiring and joyous 
progress. The first efforts at this will be some- 
what difficult and possibly labored, but persistent 
and consistent presentation of this principle in 
rehearsal will finally result in all the people 
naturally and habitually accenting the first count 
of three-four, two-four, and six-eight time, and the 
first and third counts of four-four or common time. 

The hymn used as illustration may be printed 
as follows, the dashes indicating the careful and 
distinct separation of the chords or syllables, the 
italics representing the proper emphasis or accent: 

“Come, — thou — Al — might — y — King, 

Help — us — thy — name — to — sing, 
Help — us — to — praise! 

Fa — ther — all — glo — ri — ous, 

O’ er — all — vic — to — ri — ous,— 

Come, — and — reign — o — ver — us,— 
An — cient — of — days.” 

Admittedly, it is difficult to present all these 
principles to a congregation at one time. My 


110 CHURCH MUSIC AND WORSHIP 


own practice is to have a thirty- or forty-minute 
service of rehearsal in beginning the work with 
any congregation, that the entire message and 
method of congregational song may be presented, 
and then afterward in the short regular rehearsals 
to recur to one or the other until they have be- 
come ingrained in the very consciousness of the 
people, habitual, as the technique of all art ought 
to be. 

Reduced to simple statement, the congrega- 
tion is taught to sing according to three principles 
of musical expression: (a) to interpret with loud 
or soft singing, with fast or slow singing, accord- 
ing to the natural rise and progress of the melody 
of the hymn, or according to the change and 
variation in the sense and meaning of the words; 
(b) to sing each chord and each syllable of every 
hymn cleanly and distinctly, and (c) to accent 
emphatically the first count in every measure it 
sings, with a second accent of minor emphasis 
in common or four-four time. 

There is nothing here that can be omitted in 
full development of the musical possibilities of 
the congregation. There is nothing, I believe, 
that needs to be added. In choral singing a very 
great insistence will be put upon careful diction 
and articulation that the words sung may be 
plainly understood, but in congregational singing 
this is unnecessary and superfluous. 

There is nothing here that cannot be success- 
fully presented and taught to a congregation by 


CONGREGATIONAL SINGING 111 


a carefully prepared and competent leader, in a 
rehearsal period set aside for the definite purpose 
of improving the quality, effectiveness and power 
of congregational song. 

5. Worshipful Singing. The most important 
principle of congregational song has been left 
until the last. It may be said that the technique 
of such singing has been presented, and that now 
the application or dedication of it is to be made. 

Congregational singing in religious services is 
an act of worship, a means of the people expressing 
themselves to one another, to the world, and to 
male will be approached, for no music not fitted 
to express worship will ever be used in a church 
service by any conscientious director. But the 
congregations in our churches need to be exhorted 
to the mood and spirit of worship. If that period 
in any service in which the people sing together 
in the name of God or Christ, aside from the 
time given to rehearsal and preparation for the 
worship service to come, is not used effectively 
and reverently as a period of worship, it is alto- 
gether misused, and a great privilege accorded 
the congregation is abused. 

What is worship? 

This question needs to be answered at great 
length, but in this work desirable brevity and 
simplicity, plus a dedication to setting forth 
practical means and methods rather than theo- 
retical discussions, forbid extended comment. 


112 CHURCH MUSIC AND WORSHIP 


The congregation, however, must be informed 1 Jn 
plain and simple terms what true worship is, 
and led into the attitude and spirit of such wor- 
ship, else the leader’s task is scarcely half done. 

“Worship,” says Dr. James Hastings, “was 
formerly used of reverence or honor done to 
man as well as God. . . . The word is a contrac- 
tion of ‘worth-ship.’ ” 

“The source of worship,” said Dr. George A. 
Gordon, in a sermon preached in Old South 
Church, Boston, during the winter of 1922-23, is 
“Instinctive homage to excellence as found, first 
of all, in human beings. . . . When we come to 
God we simply pass from finite to infinite excel- 
lence.” 

Perhaps we may say, then, that worship, in 
its active sense, involves recognition of the infi- 
nite worth of God and appropriate proclamation 
of that worth. When one worships one con- 
sciously and purposefully confesses God as being 
possessed of the attributes commonly ascribed 
to him, and makes earnest, sincere, and grateful 
expression of that fact. 

A popular dictionary defines worship in one 
sense as “rendering honor with extravagant love 
and extreme submission.” This could easily 
apply to worship of a finite type, having for its 
object a human being. But it cannot be applied 
to worship of an infinite God. Because of his 
measureless worth, universal and great sacri- 
ficial love, and absolute, but benevolent might, 


CONGREGATIONAL SINGING 118 


no love of him can be extravagant, if it be earnest 
and sincere, and the very deepest and humblest 
submission, if manly and sane, would be his just 
desert. 

The leader may not actually present such 
statements and definitions as these to his con- 
gregation,. but he will have them in mind as a 
background for every effort, and as a goal toward 
which he will lead his people. He will never be 
satisfied nor content until he feels he has been 
able to help those who follow his leadership into 
a mood and spirit of real worship. 

Now, a congregation may be stirred to audibly 
and even enthusiastically sing the hymns and read 
the psaltery of the church and yet not be led into 
worship. Neither does the hypnotic spell of soft 
music, of zsthetic surroundings, and of formal 
orders of service constitute worship. Such things 
are conducive to the mood of worship, but mere 
surrender to the quiet spell of a service is not 
necessarily accompanied by true worship. 

Worship is not something passive and inactive. 
One does not worship by simply floating on some 
running current of religious emotion, or drifting 
with some strong tide of feeling. Only when an 
individual enters into the service purposefully, 
consciously, willfully, appropriating the thought 
of hymns, prayers, and creeds to himself, making 
them to be expressions of his own love, praise, or 
prayer, does he really worship. He must have 
aglow within his heart passionate love for and 


114. CHURCH MUSIC AND WORSHIP 
complete devotion to the object of all true wor- 
ship. His spirit must gather itself in a supreme 
dedication to the interests of the kingdom of God. 
He must purpose that, as far as he is concerned, 
God shall have his own way with the life of man- 
kind. 

That congregation whose members in _ pre- 
ponderant numbers thus individually and actively 
worship will establish about itself the very atmos- 
phere of heaven. The success and power of the 
service will not depend entirely upon the kind of 
sermon that is delivered. Men will be inspired 
and uplifted without knowing just when nor 
why. ‘The Holy Spirit will descend in power and 
in truth upon the services in which such a con- 
gregation engages, giving wings of faith, hope, 
and confidence to every word sung or spoken by 
people, choir, or minister, bringing the whole 
congregation into a spirit of mystic communion 
with God, and of vital, active, and blessed fel- 
lowship with Jesus Christ. 

Every thought and expression of that congre- 
gation will be an effective prayer like unto that of 
Christ, “Thy kingdom come, thy will be done on 
earth as it is in heaven.” 


SUMMARY 

There must be a regular congregational song 
rehearsal when the whole congregation is present. 
The most effective time for this, if the congre- 
gation is present, is at the Sunday-evening service. 


CONGREGATIONAL SINGING 115 


A special period of ten or fifteen minutes may 
be set aside at that time for rehearsal—a period 
carefully and explicitly differentiated from the 
worship service proper. During this period the 
director is to deal with the entire congregation 
as a great choir, explaining, exhorting, illustrating 
and exemplifying the proper singing of hymns, 
chants, responses, anthems, or other musical 
material to be used by the congregation in public 
worship. 

Five principles of congregational song provide 
a technical basis for these rehearsals, namely: 

1. Every member of the congregation has a 
privilege and a responsibility to sing. 

2. Every singer should make a definite physical 
effort in singing to the end that good tone and 
great volume may be produced. 

3. Every singer should think of the meaning of 
the words he or she sings. 

4. To the end that the best possible musical 
results may be obtained there should be: 

(a) An effort to interpret the song according 
to the rise and fall of the melody, or according 
to the varying meaning and significance of the 
words; 

(6) Care taken to sing every chord of music 
and every syllable of the words plainly, distinctly 
and cleanly, without slurring, drawling or drag- 
ging; 

(c) Emphasis or accent placed upon the first 
count of every measure in three-four time, or in 


116 CHURCH MUSIC AND WORSHIP 


a kindred tempo, and upon the first and third 
counts of every measure of common time. 

5. All effort at singing well should be consciously 
dedicated to the true worship of God. 

These principles need not be presented  ver- 
batim to the congregation, but some such set of 
definite guiding principles should be followed or 
time will be wasted and efforts at improving the 
quality of congregational song and _ worship 
brought to naught. 


CHAPTER VI 
CONGREGATIONAL SONG REPERTOIRE 


THE congregational song rehearsal should be 
utilized in some manner and degree in every 
department_of the..church organization which 
engages in public services of worship. The 
standards established and the methods demon- 
strated in the church service should be carried 
into the Sunday school, the young people’s 
devotional meeting, the midweek prayer service, 
and similar gatherings. Modifications and adap- 
tations are necessary ofttimes, but can be easily 
and quickly made. 

In some cases the departmental or special 
service offers the best and most available oppor- 
tunity for religious education in and through 
congregational worship and song. It may some- 
times seem impossible to inaugurate the work 
in the regular church service. It is better to 
earry..on the work in smaller services than. to 
neglect it altogether. More than once the con- 
gregational song rehearsal has been introduced 
as a kind of special feature into social gatherings. 
The desired result was each time accomplished and 
at the same time that portion of the evening gener- 
ally given over to entertainment was more profit- 


ably spent than might otherwise have been the case. 
117 


118 CHURCH MUSIC AND WORSHIP 


A. CHyoostinc A Hymn Boox 


In every case selection of good song collections 
is vitally important. Only worth-while hymns 
and gospel songs should ever be used, and these 
should be sought in publications which measure 
up to high ideals and standards of selection. 
Many a so-called “‘evangelistic song book” does 
have a number of good hymns included in its 
contents, but only the very familiar old hymns 
are numbered among these, and they are for the 
most part printed in very small type, one stanza 
between the lines of music and the remainder 
below, and placed in a crowded section at the 
very close of the book. It would seem that 
everything possible was done to discourage the 
use of these better hymns. Emphasis is put upon 
the cheaper songs, many of them of the very 
poorest imaginable character and quality, both 
as to words and music, by placing them in the 
main part of the book, in clear, bold type, all the 
words printed between the lines of music. 

In choosing a hymn book for church, Sunday 
school, or young people’s meetings the very 
greatest care should be exercised to choose a pub- 
lication which will place in the hands of the people 
only that type of hymnic literature which is 
worthy of use in religious worship and instruc- 
tion. The contents should be carefully studied 
and a very few inclusions that are in bad taste, 
syncopated and jazzy tunes, doggerel verses, 


SONG REPERTOIRE 119 


cheap adaptations of operatic airs, and common 
popular tunes, whistling choruses, songs sloppy 
and slushy in sentiment, should suffice to bar the 
book from choice and use. 

As to the mechanical features desirable in a 
song book for congregational use it is perhaps 
sufficient to say that it should not be so large 
as to be difficult to handle, it should be well and 
thoroughly bound, and should be printed in clear 
type, both as to words and music, on good paper, 
and every line of words placed directly between 
the lines of music to which they are to be 
sung. 

In addition the completeness and usefulness 
of the indices, a very important matter to a 
leader who uses his hymnic material with care 
and study, should be taken into account. There 
should at least be complete indices of First 
Lines, Tunes, Authors, Composers, and General 
Topics. In addition it is very desirable to have 
an index of Special Topics, detailed enough to 
enable the leader to intelligently choose from the 
contents those hymns which deal with the various 
phases of Christian teaching, life, experience, and 
service. In a few hymnals. complete Scriptural 
Indices are being included, which index the hymns 
according to their relation. to various _ biblical 
verses or passages. This is an inestimable boon 
to the minister or teacher who uses his hymnal 
as a textbook for study as he prepares sermons, 
lectures, or lesson topics. 


120 CHURCH MUSIC AND WORSHIP 


The very best advice that can be given to those 
committees. chosen to select new hymnals for 
church, school, or religious societies, is that they 
should consult religious educators who have made 
a study of this subject and obtain their advice 
before carrying out their exceedingly tmportant 
task. It may be said that worth-while hymn 
books can be obtained for as little money as any 
other kind, and it should be added that if this 
were not true, it ought to make no difference. 
The Christian Church has an obligation to use, 
teach, and recommend only such hymns as con- 
tribute to genuine religious edification and are 
consonant with high cultural and artistic ideals. 


B. Variety AND IncLUSIVENESS IN Hymn 
SELECTION 


The writer addressed a gathering of brother 
ministers a few years ago and made the statement 
that in the average church not more than twenty- 
five different hymns were given out to the people 
to be sung during the fifty-two Sundays of any 
year, with two services each Sunday. It might 
be added that if the prayer-meeting selections 
were included the statement would not have to 
be modified. 

The ministers present at that meeting received 
this statement incredulously. In a friendly way 
they were challenged to study their hymnals and 
make reports. It was found in practically every 
instance in which report was made that the case 


SONG REPERTOIRE 121 


was, if anything, understated. One minister, 
pastor of a large church, with a very large Sunday- 
evening and prayer-meeting attendance, could only 
find fifteen different hymns that he had announced 
to be sung during the previous year. This con- 
stitutes a real failure to bring into the service of 
worship and into the lives of the people through 
the wonderfully effective means of hymn singing 
the many various phases of Christian teaching 
and experience. It likewise results in a dull, 
listless song service. The people have no antici- 
pation of a hymn being announced that will 
have a new message for them, or that will even 
accord with the theme of the service, sermon, or 
lesson topic in hand. 

The only cure for this is to keep a list of the 
hymns sung at each service and to resolutely 
avoid needless and vain repetitiousness. A still 
more effective method is for the minister to draw 
_up, at the beginning of the church season, a list 
of perhaps one hundred hymns, all of which, or 
equivalents, he will use during the season. 

There follows here such a list representative of 
the hymns which might be used during any one 
season or year of religious worship and service. 
It is by no means an exhaustive nor exclusive list, 
but just a selection which may be considered 
representative of the repertoire that each church 
should use during a year of services. It does not 
include selections for prayer meeting or Sunday 
school, though in large measure these might well 


122 CHURCH MUSIC AND WORSHIP 


follow the repertoire proposed here. Many of 
the hymns should be repeated year after year of 
course. All of them should be so thoroughly 
_well known by any congregation after a few years 
of definite leadership and training in congrega- 
tional singing that the minister may confidently 
announce any one of them and know it will be 
well and heartily sung. It will be noted that 
attention is given to the various festival and sea- 
sonal services of the nonliturgical church, and 
that an endeavor has been made to recommend a 
balanced ration of subjects and themes. 

These hymns are proposed for use in both 
morning and evening services. There is_no- 
reason nor good excuse for adopting lower stand-_ 
ards of worship literature in an evening service. 
than at any other, common as the practice is. 

The writer has used such hymns as these in 
morning and evening services, Sunday school, 
Young People’s Societies and prayer meetings 
for years, and likewise in revival meetings, at 
conventions, institutes, and conferences, and 
with prevailing satisfaction. Sometimes a careful 
work of recommendation and instruction has to 
be carried out. In many instances it may be 
very unwise to attempt to gain a higher plane of 
hymnology at one bound. In other instances 
this is the very thing that is needed, a determined 
“shelving” of the cheap collection that has been 
used until it has become traditional, and the 
introduction of a good hymnal, with the congre- 


SONG REPERTOIRE 123 


gational song rehearsal to bring the people to a 
new understanding of their responsibility and 
ability in congregational song and worship. 


C. CONGREGATIONAL SONG REPERTOIRE FOR ONE 
SEASON 


The list herewith submitted is what the writer 
considers a “popular” list of good hymns. It 
is by no means a “high-brow” list, and it is his 
earnest belief that it is an entirely practicable 
list. If some people are inclined to think that 
sacrifice has been made on the artistic or literary 
side in favor of a popular list, he cheerfully admits 
that consideration of what congregations like to 
sing has been allowed to weigh very heavily in 
final selection of some hymns and rejection of 
others. But he believes this list of hymns as a 
whole represents a type of hymnology worthy of 
use in Christian worship, as well as possessed of 
popular attractiveness. 

A listing of hymns for a second year of services 
would not be entirely different from this, but 
certainly it should be as varied and inclusive. 
Every congregation should be able to sing two or 
three hundred hymns at least. 

Practically every standard denominational or 
general hymnal includes most of the hymns listed. 

Much difference of opinion exists concerning 
the tunes to which many hymns should be sung. 
The writer merely lists the tunes he personally 
finds best adapted to the hymns named. 


124 CHURCH MUSIC AND WORSHIP 


x1 
QUIIBY}ED JUIBS 
uuUAT Siapesnid 


cd a Va) 
osIvig sUIMIAy 


eyeuMlepLiqd 
semoyy, JULES 
IOSPUT\A $,95.1094) “4S 
TASS 


uwWAP, UBITeyy 


qoo1}49 YIeg 
umAP 194sey 


Oy Toy osp eer 
stuu9d 


porpuny Plo 


IaysaaTAG 
oienbs yussayy 
SQOIOA [OSUY 
ouey Soil 
Sony 
sewmouy, 4S 
epriqueAY 

aNOL 


yulodistg *S “W 
FIQ Bf “Mm YUspoly 
Jaysunyy 


JOA “OQ Youopasy 
Ainqyyey ‘y Arey 


sosplug Moq4}eI 
S}IBAA OVVST 
plojfy Arua 

2 Eo N eA teE 


kq *1} ‘snoseueqd jo uyor 


asa SepVyD 
sooppr[” sevuioy y 
Aa[SoM Sopreqy 


Aaunqyyey “y Arey 
qOOMET UYOL 
SHIVA IVRST 


[esIOAVT] “Y Ssoouvsy 
Arsul0s UOT samer 
yog stouvsy 
youolIag premMpy 
MO][9JSUO'T [ONUIBS 
Ag[saM Sopreyy 
aysq “q Armezy 
auOHLAY 


Yes oy} Jo Aynvaq 94} 104 
jS1oq}VJ MO Jo yey 
jsnsae pio'y ysoure yy 


pulyueu jo Joye, pue ploy ivaq 
qSOM OY} UI SuIAp st Ae 


SUMOIO AUBU GPM WIy UMO0ID 


Pi0'T 9} BAO] 7eYq 9A ‘auIOD * 
eutoo ‘ajdoad jnyyueyy oA ‘amI0D ° 


UIVIYS VY} VSTeI ‘[nJqYWey VA ‘ouIOD 


suryy AVYSIUITY noyy ‘auioy ° 


sv] posovs Ul ‘mos AU GQ ‘au0D 
AVPO} UISTI SI POTTY 9Y} YSTIYD 


aI] JO pvroiq oy} Noy} yrog ° 


spurq 3vyy 919 oy} oq 4SETG 


QUOIq] [NJMP S YRAOYoP a10Jog ° 


SUIUMEp SI 1eaf JayjoUY * 
Aio]s JO sujvod oY} UOI ‘spesuy * 
"SN, 
PAWN 
"6 N\A 
°} : 
“Te 


SUIBUIS IIAD SBDIOA [OSUY 
suleu snsap Jo JaMod oy} [Ivey [TV 
S][e} MOPeYS S SUMIAD SB UIeSY 
eavy [ dvay 07 ad1ey9 YW 
SAL A EEG a 

NWA 


"66 
“1S 
‘06 


6T 
“SEs 


\ 


125 


SONG REPERTOIRE 


UvANO'T 
qsoping 
VUIAL(] 9AO'T 
Ainquouey 
aysevoue’y 
eusieg xn] 


qouay 
SUM 


WOlzVUoIO’D 
qool}S 9yNG 
1lld 

uAWVP 

ad Uhr 

Ayt919g 

(UIvIJal ON) Yooq 
unqyq}ey 

Ld GRE SUIL 


uMmAP{ ssonsnI0g 
epmy myyqyey “yds AjoH 


BIVIINT 


spreyory 


LSE 
umApy [euoreN 
eliysny 


aNOY, 


SOTMfOP{ [[PPU9M JOALIO 
ysoping “H Wey 
AdsSaM SopIVyO 
[esI9Av “Y Ssoouvsy 
PopynyS “MA ysouIW 
UVUMIN “J yor 


S}IVAA OVBST 
oa INeE Ne wae D 
&q “44 ‘Aun[9 jo preusisg 
AVSPA\ SATTVYD 
SPIVM OVVST 
roddoy paeapy 
AdSOAQ SOTIVYD 
Jopuexe[y ‘yy [lag 


ead LC ere Ee ed 
dye ploury premoFy 
SsULIMOgG UYOF 

Ivuog sni}e10 Fy 


YoY 931095 

STIPM “JA Shore py 
laqey pleursey 
suepy Aoum’y uygor 


SURE EAM IU 
spOqoyY “D poueg 

WOIMON uyor 
yOHLAY 


ivje p Woig} ‘suleq [[e Jo ploy 

goved jo syyed oy} UI ‘19q}¥q GC ‘sn pray] 
BUI[[9OX9 SAO] [[@ “BUTAIP 9AO'T 

yeods Avurl [ }eqY} ‘ou 07 Yeods ‘pio’T 


[euseqg SUTY CQ ‘UO poy °- 
F501 SIDED “pseT= 


jP[toM oy 07 Ace ° 


Usp[os 94} WaTesnisf ° 
[[@ 1940 YSIY oUIeU OY} jSsnsor ° 


UNS 9Y} Jo, d194M USIOI [[VYS snsor 


oul yoTId ‘InolAes ‘snsor * 


[nos AU Jo IJ9AO] ‘snsor 


q[NuiNny oY} 19,0 sn s][vo snsor ° 


[[N}J J9A010} ‘oAo'T [eyoULUIyT ° 
oni} oq PyNom | ° 


A10]S [ YSlAYD Jo ssoio oy} UT 


‘Kes SNSOf JO VDIOA 9Y} pavoy [ ° 


WOIyepuUnNno; B VIG MOFT 

oping) [nyqirey “yids AjoH 

Ayysrmapy por) priory “Ajoy ‘Ajoy “ATOH 
ssoupe]s Jo SamAY o1oyM ‘ai10q SI UW AvOTT 


yeaoyoe void Noy} GO ‘em spiny 

Sisq}VJ Ino Jo poy 

uayods o1¥ 904} JO SAUTY} SNOTIOTH 
NWA} 


CHURCH MUSIC AND WORSHIP 


126 


orenbs yuesoy 
OpNizAsy yUIVs 
mOPAIV IY 
qoresiveyy 
smoy yurIeEg 
SD IPEEreS 
A10YS S posay 
ouuy }UIeG 
TORP EL 
mOULZY 
sviqopus] 
(uu ATT 
asongnWog) sappry e1sepy 


euoly 


BUI} ef 


[ela fy 
gyurqdg unN 
Auvyyg 


. ueqe’y 
qeMoe 


PATIO 
eoLlguly 


aNOY, 


. SIDATIQ SVUIOY], 
plnoy-sulreg suiqeg 
UsppelH Uo YuUIYseAA 

MOSIy LP, 981094) 

syooig sdij[iqd 

ord shor SERA 

SPOT AsPHCE 

SY}JEVAA OVVST 

uvine uyor 

AVS9AM SeTTeyD 
YWOMSpIOAA Joydoysyg 


AV[PYVOQ YoIepasly 
Aq ‘13 ‘aney oy} Woy 
JOI}UY AA Jeofueoiy uyor 


soyegq oo] suLIOy ey 


p[noy-sulieg suiqes 

YMOMYUTAA OULIayIeD 
Aq ‘1} “qaeyUuryy uUulpey 
sulepy ‘years 


Y1wIF{ W109 
YOIMYyWoOg ouve 
Aq *1} ayjouryos utuelueg 
rouyeg Avy 
YUS suey jeNUes 
aOHLAY 


morzeares AU JO poy noqy O *L9- 
jS1otp[OSs URI}sLIQY “pIeMUQ “99 
90} YPM Y[VA JUL JOT “IOIsePT O “SH ~~ 
03 dUL 4o[ JOU FIM JY} GAOT CO ‘FO. 
Moye JO UMOZ 949711 O “9. ~~ 


SuIpueys Lv noyy ‘snsoe O SG 
postuoid aavy [ ‘snsor O “19. ~ 


ysed sase ul djay ano ‘poy OQ 09" 


i24917 Jo yq2rT O 


iPOD Jo -POD_O = 


SUIS 0} SONSU0Y pURSNOY) & 10J O ° 


ssoupv[s pue ysai Jo Aep O 


[NyqiWey OA [fe ‘aut0d GC - 


Ay} yvoy Aq} 0} ploy ‘uvM JoqIOIQ OC ° 


Joy 0.14 


Sorys snotoeds 1of [HJNvI O 


JOAO SI ABP 94} MON ° 


poy imo [jv om YURT MON * 


204} 0} ‘poy AU ‘1aTvON 


prens Ay. wo aq ‘mos AP 


}[IM nog} se ‘snsoe APT °- 
904} 03 dn syooy qyiey A * 
o0q} Jo siz, ‘Arqyunoo Ap ° 


NWAPT 


127 


SONG REPERTOIRE 


UO0I}VII 
iayNyD 
queqduniy, yoiny) 
ITH, Weth) 
A2ISOTOMA 

18}G [NJIyneeg 
qq9M 
pisydays pooy 
10a] 

elpoiny 

PLOFLV 


asin FL 

9}}94SO1H 
WOlyejosuo7D 

99M 

ey eUlopei( 

AdIII 

WYSIN YTS 

Snsof IO} SuIyYoULOG 
Ainqpeig 

DIV WEHSAdY'Ss 


Apvydoy, 
mole yy 


SSUIPLY, 
suosT 


NO], 


uostippy ydesor 

Joqey pleursoy 

spuowds uoysuIppy ugor 
Jopuexa[y “Yq [99 

Iaqey “MM YoIopeiy 
puomkey “AQ JopISSOy 
eile ole 

AJaWMoOsS UOT somer 
SIZAYO SvUOyy, 

au0}S “Ff jaNUIeS 


piojty Arius 


QUES LANES & 
uoskuuay, pally 
@MOTS “G JOLLA 

‘Ip ‘ppeyng e81005 
Agsa Sopreyy 
ouvoOg “MA 931004) 
1yoyy ydosor 
sdjayq uepAig ‘Ss 
ddniqy, -y Aq}o10q 
UOJMIN UYor 


Apejdoy, ‘Ww snysnsny 
ejduin|g ‘Fs pavapay 
uosdwoyy, “y Are 


qurIg Woqoy 
HOHLAY 


yqsIq UO JUsUIeUIG Snotoeds oy], 
IBM 0} YIIOJ S908 POD Jo uog sy, 
joq [[eys ssurqy oseq J, 

ACME IV} [IY W991 B SI IIIT J, 
ADIIUWI S POX) UI SSOUOPIM B S.919T J, 
IBS [NJNvsq BS s19q J, 

SUIyvIIg SI YYST] SUlMIOW sq], 
prsydeyg AU si ploy oy y, 


asivid WByeIqy Jo poy oy], ° 


UOTJepUNoO}] suo S.YoInyo sy 7, 
pUvsnoy} Us} soul} pursnoy} Udy, 


[nos Au Jo ung 

poy Jo uog Bu0I4¢9 

92e0L FHA TGs TNS 

snsoe 1oj dn pueys ‘dn purys 
OSB “SLIGO JO SIsIpjos 

Aep Jo Ys] oy} Mou ATWJoo 
jwqsta ATOR j74Stu ywuayig 

aA0] SuIAp AY} ‘ANOIABG 

sn pvo_ proydoys ev axT] ‘mortars 
Yoom Jayjoue ysnoiy} Ajoyes 


OUI IOJ JJa[o ‘sady Jo yooy 
jywvoy ur aind af ‘so1ofay 


oysey ‘WOIZ O 
suty 94} diqsiom QO 


NWA 


/ 


i128 CHURCH MUSIC AND WORSHIP 


IaAoueTyT 
Svulystigy 


AUWPULIOL) 
eulopeiq: 
tIMlOGg sepney 


yslivyony 
UVULYDIV AA 
poyweoy 
“SGM “pozyIvap-oniy, 
MOIG S.dAl[O 
QNOT, 


Aa[san SapreyD 
oye, uNnyeN 


YWON wosep yuri 
TOMA M “<) UYOL 

[Tease 
pivapy Aq 1} ‘uRUTIED 
S}JEM OVVST 
SsuUlIMOg uyor 


[eSIOAVTT “YY Soouvsiy 


uvddey, “gq UrenTIAA 
HOHLAY 


uIe[a0I1d 1aysvyy Inod ‘pox Jo syuvaseg 9X 
ywsta 


Aq SYooH Il9y} poeyoyea spsoydoeys ary AQ ° 


oft] JO SAVM PIPMOI 9} SSOIO DIOT AA 
Sule} SI YSta oy} opt] Jo Avp Au uo usy 


SOTYS OY} Sp[Is FUlMIOUL UST AA 
SSOJo snoipuom oy} AAINS J UST A, 


qYSIa oy} JO sn [oq ‘UvUIyOZTAA 


PeHVoy-o9foyM “popvoy-oniy, 


MOIG SAATIQ WO pure ‘yysIUpiu sty. ° 


NWA] 


CHAPTER VII 
CHOIRS 


A. Tue User or CuHorrs IN THE CHURCH OF 
To-DAY 


Tue church of to-day, organizing its people 
for religious education in music and worship, will 
not be content to merely develop congregational 
singing, leaving out of account those great musical 
works, oratorios, cantatas, anthems, ete., which 
are of the very greatest religious importance, 
but utterly impracticable to be rehearsed and 
sung by a congregation as a whole. 

Neither will this church be contented to employ 
a professional quartet or even a professional choir 
to sing these things to the people. Rather will it 
organize the people themselves, or the more gifted 
of them, into choirs for the study of these religious 
musical masterpieces. And the primary end and 
aim of this procedure will not be to have these 
works publicly sung in the church services, but, 
rather, that the work of religious education may 
be complete, and that the lives of the people may 
be enriched through first-hand acquaintance with 
great and inspiring religious music. 

The money that is spent upon a professional 
quartet or choir is money spent for public rendi- 


tion of religious music. There is much to be 
129 


130 CHURCH MUSIC AND WORSHIP 


said in favor of this, and the solo quartet is not 
going to be abandoned in our churches, nor the 
practice of music made less professional on the 
part of those trained and equipped to lead or to 
render artistic service as soloists. On the con- 
trary, the profession of religious musicianship will 
be advanced, made more honorable, more lucra- 
tive, and much more effective in winning the 
world to Christ. But nevertheless it should be 
recognized that money spent on the development 
and_ training of choirs organized among the people 
of the congregation carries blessing, culture, and 
religious inspiration into the very homes of the 
parish. And permanent. enrichment of _ life, 
rather than passing and temporary pleasure and 
inspiration, is the result of a consistent and 
successful program of choir training. Let it 
again be stated that the preparation of. music. 
for Sunday services is not the primary end_and 
aim of the choral program of the-modern church. 
This program is primarily a means by which 
the church develops the talents, capabilities, 
culture, and religious knowledge and consciousness 
of its people...The music rendered in public is, 
as it were, a by-product. 

It may safely be asserted that no man nor ~ 
woman, boy nor girl, who has been systematically 
taught how to sing in choral organizations, and 
who has been introduced_to the music of Handel, 
Haydn, and Mendelssohn, possibly that of Vit- 
toria, Palestrina, and Bach, the anthems of 


CHOIRS hail! 


Barnby, Sullivan, and in later days, Maunders, 
the chorales of the Lutheran Reformation, these, 
and the texts of the oratorios, anthems, and 
hymns studied and prepared for finished public 
rendition, can fail to live a more abundant life 
than he or she otherwise would, or fall as far short 
of knowledge of what the Christian religion stands 
for as might otherwise be the case. 

But when the educational and cultural ideal 
has been established, it is altogether proper for 
the church to consider what it will receive in 
return for what it gives through the choirs. And 
no argument is necessary to establish the con- 
tention that well-trained choirs, possibly with the 
aid of a solo quartet, offer to the church in singing 
of special music, in processionals and recessionals 
if used, and especially in leadership of congre- 
gational song, service that can not be equaled in 
any other way. Neither can the attractive power 
of good choirs in drawing people to the services 
of the church be overestimated. In addition to 
this the special services of music and worship 
which the choirs of a modern church make possible 
offer means of splendid and inspiring variety in 
the stated services, which at the same time measure 
up to the very highest standards: of dignity, 
reverence, and genuine religious inspiration. 

Both from the standpoint of what it can give 
in service for the development of the lives of its 
own people, and of what it is certain to receive 
in the enhancement of its public services of wor- 


132. CHURCH MUSIC AND WORSHIP 


ship, the church of to-day is justified in spending 
a great deal of money, giving a great deal of time, 
and according a very prominent place in its 
general program to a program of choir organiza- 
tion and training. 


B. CHorat ORGANIZATION 


A single choir will not suffice in the organi- 
zation of the church for religious education in 
music and worship. There must be such a series 
of choirs as shall care for the interests of all the 
people eligible to training, from the youngest to 
the oldest. 

This does not necessarily involve a complex 
and elaborate organization. Four choirs will 
suffice. These must be definitely related to each 
other and under one head or director. But the 
plan herein proposed relates these four choirs 
definitely to the outstanding departments of the 
church. 

The four choirs, together with their affiliations, 
are as follows: 

1. The Junior Choir, for boys and girls of the 
Junior Department of the Sunday school. 

2. The Intermediate Choir, for boys and girls 
of the Intermediate Department of the Sunday 
school. 

3. The Young People’s Choral Society, for the 
young people of the Epworth League or Christian 
Endeavor, and for all those who have progressed 
beyond the Intermediate Choir, who wish to 


CHOIRS 133 


continue to sing, but are not eligible for induction 
into the Senior Choir. 

4. The Senior Choir, sometimes called the Adult 
Choir, or simply given the name of the church as 
the “Trinity Church Choir,” the “Emmanuel 
Choir,’ ete. This is the official choir of the 
church, which regularly sings at the public serv- 
ices, represents the church in public concerts, 
and strives to establish the musical standards 
for all the moral program of the church. 


As has already been indicated, the director 
of music and worship for the church should have 
direction of all these choirs, together with 
authority to call on any or all of them for use in 
any church service or function. This does not 
mean that he necessarily personally conducts 
the rehearsals of each choir. He may have 
assistants to carry on the work of rehearsing the 
Junior and Intermediate Choirs especially, but 
the director should himself conduct the rehearsals 
of the Young People’s Choral Society andthe 
Senior Choir. 

The Sunday school supports the Junior and 
Intermediate Choirs as part of its educational 
program, and has authority to use either or both 
of them in the Sunday-school session, or in special 
programs or services held under the auspices of 
the Sunday school. 

The Young People’s Choral Society may be 
supported either by the Sunday school as an 


134. CHURCH MUSIC AND WORSHIP 


extension of its educational program or by the 
young people’s society itself. 

The Senior Choir should, of course, be _sup- 
ported by the church. In consideration of the 
service rendered the general church musical pro- 
gram in training singers for public service, in 
providing choir units for special services, and in 
interesting the general public in the work of the 
church, grants of money might be made by the 
official or governing board of the church to both 
the Sunday school and the young people’s society 
to help them carry on their part of the musical 
program. But it is advisable that the three 
preparatory choirs should be definitely related 
to the departments named rather than considered 
as merely training groups for the church service. 
Thus each department of the church above the 
Kindergarten and Primary Departments of the 
Sunday school has its ministry of music and its 
training in worship and expression. 

It is often inadvisable to launch this entire 
program at one time, though nothing less than 
the program indicated will give the church full 
service in this important field. A start may be 
made with any one of the choirs and the program 
allowed to expand and grow. For instance in 
the beginning the Junior and Intermediate choirs 
may be organized. Then, if the work is carried 
on persistently and progressively, the Young 
People’s Choral. Society. will naturally develop, 
and finally the Senior Choir may be organized. 


CHOIRS 135 


The writer has generally begun his work with 
Junior, Intermediate, and Senior Choirs, com- 
bining the young people in the last named organ- 
ization with the adults. This gives immediately 
a working program which involves all the eligible 
singers. But in the course of a few years it has 
always become necessary to form the Young 
People’s group. 

Anything savoring of complex organization 
within the choirs themselves is unnecessary. A 
full corps _of officers is not needed in any case. 
In fact, the only necessary..officer in any choir 
aside from the director is a_librarian to care for 
the music. As nearly complete leadership of the 
choirs as possible should be centered in the direc- 
tor, who should not. only direct.the rehearsals. but 
preside at the business meetings and represent 
the choirs in official meetings of the church. 
Many officers and complex organization of the 
different choirs add to the already overburdened 
organization of the church and do not assist the 
work in any considerable degree. 

A special treasurer may be appointed from 
time to time when some special assessment for 
a recreational or social gathering is made, but it 
seems unnecessary to have a permanent treasurer, 
as the financial support of the choral work is 
provided for in the budgets of the church and 
the church school and all bills are paid by the 
treasurers of those organizations in the regular 
manner after approval by the director. 


136 CHURCH MUSIC AND WORSHIP 


Where no other organization for Juniors and 
Intermediates than the choirs is provided it is 
well to have a regular corps of officers and add 
a few minutes parliamentary drill and debate to 
the work of the rehearsal period. 

Simple constitutions may be drawn up if 
desired, one for each choir, or a general constitu- 
tion for the entire choral work. In this latter 
case an organization may be effected which shall 
become a kind of official board of the program 
of music and worship. In such constitutions 
there may be incorporated statement of purpose, 
and rules concerning membership, rehearsals, and 
public services. 

The writer does not use any of this in his own 
work, but prefers to deal directly and_personally 
with his choirs, and to_trust.to_occasional.state- 
ment of ideals and exhortation..to accept and 
abide by these ideals for maintaining the morale 
and artistic standards, of the work. In his 
experience this has worked very nearly perfectly, 
and does away with confusing organization, 
rules, fines, etc. 

A choir secretary may advantageously be 
provided as assistant to the director who shall 
function in connection with the entire program 
of music and worship. The task of this secretary 
is to keep the_rolls, send out such communications 
as may be necessary, arrange for the printing of. 
programs and calendars, order music and keep 
account of the apportioned budget, and to give 


CHOIRS 137 


general assistance in all matters pertaining to 
organization and program. 


When congregational singing is encouraged 
and developed, and when a definite, progressive 
system of choral organization and education is 
established in our churches, under competent 
leadership and adequately supported, the problem 
of the church in matters of music and worship 
will be well on the road to solution, the need 
promised satisfaction. 


C. FINANCING THE CHOIRS 


In general, individual churches will have to 
work out a method of financing choral organi- 
zation and training according to local needs and 
conditions. Where one general budget is drawn 
up for all the work of the church and church 
school an apportionment may be made for this 
work which may be administered by the director 
of music and worship. 

The writer’s plan, in a church where there are 
separate budgets for church and school is as follows: 

The church budget is drawn up to provide for 
all general expenses, such as direction, soloists, 
and accompanists, and for the purchase of music 
for the Senior Choir. All incidental expenses 
of public services in the church, no matter what 
choir or choirs participate, are likewise paidout 
of this apportionment. This includes the 
employment of special soloists, instrumental 


138 CHURCH MUSIC AND WORSHIP 


players, and rental of costumes for musical 
dramas or pageants. 

The budget of the church school includes an 
apportionment for the support of the Junior and 
Intermediate Choirs. 

All the expense of the musical and dramatic 
work of the young people’s society is borne by 
themselves, and is paid through the regular organ- 
izations of the young people, in the present 
instance, the Epworth League and a special club 
each for young men and young women. ‘This ex- 
pense in the program now under way has largely 
been incurred for dramatic coaching and the in-| 
come from plays given has more than covered it. 

Income from special concerts is paid directly 
into. the proper treasuries and administered just 
as other funds, but is used generally for such 
special purposes as purchasing vestments, musical 
equipment, etc. 

Social functions are financed by special assess- 
ments upon the choir members, except on such 
occasions as the church extends receptions to the 
singers, or provides for their attendance at some 
concert or recital. 

No dues are charged in any choir. The 
members pledge and pay their contributions 
to the budgets of the church and church school 
just as other members of the church and parish. 
The program of music and worship is supported 
by church and school as a vital part of the 
program of religious education. 


CHAPTER VIII 
THE JUNIOR CHOIR 


Tue Junior Choir is organized of, and for, boys 
and girls (all this religious education in music 
and worship will be coeducational) of the Junior 
Department of the Sunday School. 


A. Merruop oF ORGANIZATION 

Let the Sunday School Board, or whatever 
committee or group has authority, under the 
leadership of the pastor, superintendent, or chair- 
man discuss the advisability and need of this 
choir. When they have voted its organization 
a committee should be appointed to confer with 
the director of the church music and worship 
concerning the conduct of rehearsals, and himself 
secured, or some competent person satisfactory 
to him engaged as director or directress. One 
assistant might well direct the rehearsals of this 
choir and of the Intermediate as well (see next 
chapter). 

Whether the church director or an assistant 
take over the work of rehearsal of this choir, 
genuine ability to deal with the child voice, and 
a personality fitted to cope with the problems of 
child training should be insisted upon. Oft- 
times some trained director of public-school 


music can give the very best service in actual 
139 


140 CHURCH MUSIC AND WORSHIP 


leadership, but he or she must have a Christian 
consciousness of desire. to minister_to. the lives of. 
the children rather than to develop choice musical 
programs for public presentation. This is no 
place for exploitation of the talents of the children, 
but for their training and conservation. Some- 
times a competent student of music, instrumental 
or vocal, will be glad to take special training in 
leadershp of children’s choirs and to gain expe- 
rience. If such a one be musically competent, 
inspired by high ideals of ministry and service, 
and personally acceptable, careful study and 
thought will quickly provide equipment for the 
task. 

But/ ‘even though the choir be actually trained 
by an assistant, the church director, the pastor, and 
the Sunday School superintendent should take 
an activepersonal interest in the work, attending 
rehearsals occasionally, calling the attention of 
the congregation to the training offered the 
children of the parish, and encouraging and 
assisting the choir leader in every possible manner. 

When the organization of the choir has been 
approved, a committee appointed, and a leader 
secured, public announcement should be made, 
and in addition a personal letter sent to the 
parents of all the Junior children, stating the 
nature and purpose of the organization, inviting 
the children to become members, and urging the. 
parents.to. support the effort by sending their 
sons and daughters regularly to the rehearsals 


THE JUNIOR CHOIR 141 


and to any public services in which the choir 
may engage. This last factor will probably 
have greater influence for success or failure than 
any other except the qualifications of the director. 
The parents should be led to think of this as 
definite educational work, requiring and deserving 
regular and punctual attendance of the children 
as fully as the public schools themselves. Irregu- 
larity in attendance should be regarded as a 
reason to drop any member from the roster of 
the choir. 


B. MermBersute REQUIREMENTS 


No musical or vocal test is required for admis- 
sion to this choir. The invitation is general to 
the children of the Junior Department, and their 
continued membership is conditioned only upon 
faithful and punctual attendance upon the rehear- 
sals and such public services as the choir partici- 
pates in. 

Reasons for this general invitation have been 
realized in experience. 

First, it is sometimes difficult to determine 
whether or not a child has musical talent. Many 
children, apparently devoid of such _ talent, 
seeming to be monotones, have developed ability 
to carry a tune and to learn the rhythmic move- 
ment of a hymn or anthem. It is part of the 
responsibility of the church to afford every child 
under its care a chance to develop what may 
simply be a dormant capability. Besides this, 


142 CHURCH MUSIC AND WORSHIP 


many a child who may prove unable to pass even 
an easy musical test, may develop, under training, 
an appreciation of music which will materially 
contribute to the happiness and satisfaction of 
his life through years to come. 

Secondly, the purpose of organizing and con- 
ducting this choir is not primarily to present 
musical works in public, but to train and develop 
the children. A considerable part of this training 
is other than purely musical, having to do with 
the child’s capacity for worship, and with his 
fondness for fellowship and recreation. Many 
principles of worship, Christian life and service 
will be taught and exemplified at the meetings 
and rehearsals, which are sorely needed to equip 
any child that he may become an intelligent and 
active participant in the general service of wor- 
ship. Then this choir may be made, as it Is in 
the writer’s own work, the sole organization of 
the Junior children, calling them together outside 
the Sunday-school hour. As will presently be 
disclosed, social and recreational features are 
brought into the rehearsal. 

Third, the setting up of rigid and_ specific 
requirements and the imposing of tests may 
frighten many children away from an_ organi- 
zation whose primary end and aim it is to furnish 
a channel through which as nearly as possible 
the entire body of children of the Sunday School 
shall be passed for training, instruction, and 
general development. 


THE JUNIOR CHOIR 143 


It is quite evident that this general admission 
of the children is going to tax the patience, tact- 
fulness, and resourcefulness of the director, and 
that it will necessitate very careful dealing with 
many of the choir members, lest they too greatly 
retard the musical progress of the whole group, 
and lest at the same time their feelings be sorely 
wounded in an effort to bring about that less 
vociferous, perhaps even inaudible participation 
in the singing which enables the director to secure 
a passable musical result. But if objection is 
raised on this score, I will simply state that one 
of the essential requirements for making a success 
of such work as this is just such patience, tact, 
and resourcefulness, and that one of the very 
great responsibilities of the director is that he 
shall study the children for their own sake, that 
he may aid them in every possible and practicable 
manner. 


C. REHEARSAL 
The best time to conduct a rehearsal of the 


Junior Choir is in the afternoon, immediately 
after school, unless a morning hour before school 
time, or on Saturday can be arranged. The 
general attendance is likely to be better when 
the children come direct from school to rehearsal. 

A rehearsal one hour in length is sufficient, 
and should be broken with a recess, when stories 
may be told, a general moving about permitted, 
or special announcements made. A _ dispersal 


144 CHURCH MUSIC AND WORSHIP 


to play is unwise, but at the close of the hour an 
adjournment to playground or gymnasium for 
a half hour of supervised play adds a very at- 
tractive social and recreational feature to the 
meeting of the choir. 

The entire social life of the Junior children 
may well be cared for in conjunction with the 
work of this choir, which becomes then a kind of 
Junior League. Devotional meetings on Sunday 
afternoon may be added to the program. Thus 
simplicity of organization for achieving various 
ends is secured. 


D. Tue INSTRUCTION A thei 


As to the instruction to be offered the children 
at their rehearsals much may be said. Briefly 
outlined, the work that ought to be, or at least can 
be carried out at such a rehearsal is as follows: 

1. Instruction in singing: The children should 
be carefully taught how to use their voices in 
song, how to read music at sight, how to phrase 
correctly, and how, within certain natural limits, 
to interpret a hymn or an anthem. 

2. Instruction in religious musical literature: 
A careful listing of such hymns and anthems as 
children may sing should be made, and one by 
one put into rehearsal. This list should include 
some choruses of great religious musical works, 
oratorios, masses and the like, which, by reason 
of their very familiarity, ought to be included in 
the repertoire of the Junior Choir at the earliest 


THE JUNIOR CHOIR 145 


possible moment. Singing under careful leader- 
ship, the children may safely enter into a study 
of many of these works. The acquainting of the 
children with a considerable number of good 
and useful hymns is, however, the work of greatest 
moment. 

3. Instruction in the progress and the signifi- 
cance of the service of worship: Occasion may be 
taken to explain to the children the meaning of 
the voluntary, the prayer, the Scripture, reading 
the responsive reading, the creed, the offertory, 
and the sermon. When explanation of these 
matters has been made, the children may be 
brought into_a church service as the choir, leading 
the congregational singing and rendering an 
anthem or a specially chosen hymn, and they will 
grow in appreciation and understanding of the 
nature and significance of the public service of 
worship. Especially is it needful that the nature 
of such special portions of the service as the 
voluntary, offertory, and anthem or solo be 
explained. After explaining this to the children 
it may be found wise to likewise explain it to 
their elders in the public service. 

4. The meaning of the sacraments of the church, 
baptism and holy communion, may be here and 
to these little auditors simply and reverently set 
forth, and then the children permitted to serve as 
the choir at some service where such sacraments 
are. observed. 

5. Very profitable and helpful at rehearsals is 


146 CHURCH MUSIC AND WORSHIP 


occasional display of carefully chosen art master- 
pieces through means of good prints, with refer- 
ence to the religious inspiration of great artists 
and the religious interpretation of the pictures. 

6. The phonograph may profitably be used 
from time to time to play for the children such 
music as they ought to become familiar with, 
especially selections from the oratorios, thus 
familiarizing them with ihe music and affording 
an opportunity to teach them the mood and spirit 
in which they should listen to tt. 

7. Occasionally a kind of game may be insti- 
tuted in which the pianist plays one after another 
familiar hymn tunes, the children being requested 
as soon as they recognize the tune and can repeat 
the words of a stanza of the hymn generally 
associated with the tune to raise their hands. A 
kind of intimate familiarity with many hymns, 
chants, responses, even chorales, oratorio choruses, 
and portions of masses may thus gradually be es- 
tablished. 

8. The interest and emphasis in this Junior 
Choir work should be, and will be, prevailingly 
religious. But occasionally secular numbers, or 
possibly entire programs may be prepared. This 


sometimes proves a source of considerable finan- _ 


cial support for the choir work, and a means of 
keeping the children thoroughly interested. 

In general, it is well to keep such a choir at 
work on complete programs, children’s cantatas, 
services of worship, etc. This gives continuity 


THE JUNIOR CHOIR 147 


to the work and maintains interest at a high 
pitch. 


E. TrcuniquE oF Musicau Instruction 


No detailed presentation of the technique of 
musical instruction of children can be given 
within the scope of this work. There are many 
good works on the training and use of the child 
voice which should be carefully studied. A 
list of these is given in the bibliography. In 
addition to this the leader of children’s choir 
work should avail himself of every opportunity 
to observe the work, and to study under the 
tutelage of those who are recognized as expert in 
public-school music, Boys’ Choir work, and train- 
ing of children’s voices in private schools or in 
churches. 

Children should be taught to sing with a very 
light, high voice, striving for purity and sweetness 
rather than loudness of tone. The almost savage 
urging of children to “‘sing louder’? which marks 
the preparation of many an Easter, Rally Day 
or Children’s Day program, resulting in a throaty, 
raucous yelling, rather than singing, in flatting 
of the high notes and screaming of all the notes 
and words, is very bad. 

In taking up an anthem or hymn for study the 
tune should first be played two or three times, 
while the children quietly listen. Then the 
words should be read to the children, and sub- 
sequently read by them, with some explanation 


148 CHURCH MUSIC AND WORSHIP 


of their meaning. ‘Then the singing may begin. 
It should not be continued, however, until the 
children weary of the piece. Repeated_rehearsals 
rather than long rehearsals accomplish the desired 
results with these little singers. 

Sometimes it is well to permit one of the most 
accomplished members of the choir to sing for 
the group. A pleasing entertainment is thus 
afforded them, the soloist is delighted with the 
opportunity, and a good example is put before 
the whole group. 

Patience, tact, and consistently careful training 
will work wonders and even miracles with any 
group of Junior children anywhere. The church 
that inaugurates training of its Juniors will one 
day realize the rich field of endeavor and service 
it has long left untouched and undeveloped. 


CHAPTER IX 
THE INTERMEDIATE CHOIR 


REPERTOIRE FOR JUNIOR AND INTERMEDIATE 
CHOIRS 


A. MempBerrsuip REQUIREMENTS 


WueEn members of the Junior Choir are pro- 
moted from the Junior to the Intermediate De- 
partment of the Sunday school they are at the 
same time promoted from the Junior to the 
Intermediate Choir, without. test.and. without 
examination. Some directors may feel that the 
time has now come to impose a definite musical 
and vocal test and there is no conclusive reason 
why this may not be done. The varied interests 
of the Intermediates cannot be cared for through 
one organization as easily as in the case of the 
Juniors. At this age Boy Scout and Girl Scout 
organizations. lay claim. to some of the Inter- 
mediate’s interest...and. time, and there may be 
an Intermediate League, Endeavor, or other 
organization as well. So the Intermediate Choir 
may become.a_special training ground in music 
for those who. have. exceptional ability. 

The writer’s own practice, however, is to 
correlate as far as possible the activities of all 
these organizations, and to try to keep all the 
Intermediates in the choir. For, aside from the 

149 


150 CHURCH MUSIC AND WORSHIP 


specific musical training, the work of instruction 
in worship is not yet fully done. Neither has 
every possibility to train the children in musical 
appreciation been made use of. 


B. Direction 


The Sunday School may turn either one of two 
ways to secure the necessary direction of this 
choir, to the director of the church music and 
worship, or to the director of the Junior Choir. 
The latter is perhaps the more feasible plan, 
though these boys and girls have now come to an 
age when the very best and most skillful direction 
is none too good. Here is the time when the 
choir members must be won to permanent adher- 
ence to the musical program of the church. The 
boys especially are apt to begin to lose interest 
in another year or so. Material for future 
soloists, choir singers, and even directors can be 
discovered now. And the boys and girls of 
Intermediate age are at the most plastic period 
of life for the making of good and lasting i impres- 
sions on behalf of culture, art, and worship. 

If a special leader is available for this group, 
well and good. There is no objection to having 
different directors of the various choirs, provided 
all are acceptable to the church director, and 
provided they work in harmony with one another. 
It would seem that frequent conferences should 
be held where there are two or more directors, 
that methods and technique may be correlated, 


THE INTERMEDIATE CHOIR 151 


and that one general and consistent program 
may be followed. 

All in all, nothing could be better than to have 
one competent director who would personally 
begin his work with the Intermediate Choir, with 
an assistant to handle the Junior Choir. 


C. InstRUcTION 


Almost the same program as used at the 
rehearsals of the Junior Choir (see Chapter VIII) 
may be used, with suitable choice of material. 
Definite and continued training in technique, 
interpretation, and knowledge of good religious 
music should mark the rehearsals of this choir as 
well as of the Junior Choir. 

Many of the same anthems may be used by the 
Intermediates as are sung by the Juniors, and oft- 
times the two choirs may sing publicly together. 

The Intermediates, however, instead of con- 
tinuing to sing in unison, as do the Juniors, should 
be taught to sing in two parts, the boys especially 
singing alto as their voices lower. The older boys 
may gradually be taught to sing a second alto 
part, in three- or four-part treble-clef music, and 
then tenor. Very careful handling of the voices 
of these boys and of the boys themselves is now 
necessary or they will be lost to the choir, and 
possibly to the future musical work of the church. 

Greater works of religious music may be intro- 
duced now. Even well-known oratorio choruses 
may be used in two parts, or possibly with soprano, 


152 CHURCH MUSIC AND WORSHIP 


alto, and tenor. With careful handling the 
sopranos can sing the high notes without injury 
and with good tone, though very light, while 
the alto parts fall easily within the range of the 
lower voices. These choruses are never, or at 
least seldom, sung publicly by the Intermediate 
Choir alone. The writer's method is to teach 
this choir one or two of the more familiar choruses 
of any cantata or oratorio the Senior Choir may 
be rehearsing, and then to allow them to sing 
that particular number in public with their elders. 
This is effective in two ways; it familiarizes the 
boys and girls with these worth-while musical 
numbers, and at the same time it gives them a 
sense of interest and importance in the musical 
program of the church. 


D. Uss or THE INTERMEDIATE CHOIR 


One use of the Intermediate Choir has already 
been stated—the singing with the Senior Choir, 
or the Young People’ s.Choral Society of a chorus 
of some complete work that may be publicly 
presented. In addition to this the same use 
should be made of these boys and girls as has 
been indicated for the Juniors. They should 
be brought occasionally into a regular church 
service as the choir, to lead the congregational 
singing, to sing the anthem, and possibly to 
provide the soloist. They should be previously 
and explicitly instructed as to the nature of the 
service, trained to sing the hymns well, and, 


THE INTERMEDIATE CHOIR — 153 


of course, the anthem and any solos chosen for 
use should be thoroughly prepared. All this 
being done, the leadership of this choir will be 
inspiring and attractive to a great multitude of 
people. 


E. REPERTOIRE FOR JUNIOR AND INTERMEDIATE 
CHOIRS 


The repertoire for both Junior and Inter- 
mediate Choirs is given here in one section for the 
reason that the Intermediates can use all of the 
Junior-Choir music and the Juniors can sing a 
great many of the anthems and musical works 
adaptable to the Intermediates. Practically all 
the anthems may be rendered in unison if so 
desired, and most of them may be sung in two 
parts. For the most part it is better to buy 
choir music in octavo form and to secure Just 
what is needed and desired for particular services, 
occasions, or seasons. However in maintaining 
Junior and Intermediate Choirs this entails a 
large expense, especially since considerable variety 
of music is desirable to keep the interest high and 
to give practice in sight reading, and so a few 
collections are recommended. Whereas single 
anthems in octavo cost from ten to fifteen cents 
each, one of these collections will bring to the 
director’s hand from twenty-five to thirty-five 
anthems for a cost of one dollar or so. 

It will be noted that a few special cantatas or 
complete works are included, which may be sung 


154 CHURCH MUSIC AND WORSHIP 


by the two choirs under consideration, either one 
alone, both together, or in conjunction with a 
treble choir of women’s voices. Some_of the 
anthems and choruses may likewise be sung in 
conjunction with a four-part mixed choir of adults, 
and these afford exceptionally attractive and 
inspiring musical offerings for festivals or special 
services. 

All of this repertoire is given on the basis of 
practical experience and actual use. 

As to the hymns which children in the church 
choirs should be taught, choice may be made to 
a very large extent from the repertoire already 
listed for congregational use. ‘Then the purchase 
and use of a thoroughly good, standard hymn 
collection will furnish as many more hymns as 
may be desired. The writer believes it a good 
thing to train the children of the church to sing 
the great and worth-while hymns of the Christian 
religion from the very beginning of their work 
in the Junior Choir. Careful selection must be 
made that hymn texts unsuitable to young 
children may not be proposed to them, but there 
is no need, and, indeed, there is no justification 
for failing to make use in this work of standard 
and worth-while hymns, nor for teaching the 
children to sing songs which later they..will have 
no_use for in religious life and worship. 


155 


THE INTERMEDIATE CHOIR 


‘O1g pu JayosIy “f 
‘oy AuUING “yy UOVRTD 


OF) WOS}PIC] IOATO 
"OD WOsyI JOATO 


O*- SUIYSTIQNY ISN YWUAS-971T AA 


‘py JOoyIS JeuLAIIYoS 
‘Or UOSTICT JOATIO 
Aueduioy w uuly 
OD) MOST, IOATIO 

‘O1g: PU JOTOSTY ‘fF 


"OD WOSzIG IOATIO 
saying “"y Arey 

‘OD WoOszI, JOATIO 

"Pa JOoyps JouMATYDS 
TOWATYIS *4) 

Aueduroy 2 uULy 

OD) WOS}IG, JOATIO 

EI UNA Ra Seore PRAM 


0%) WOS}IG JOATIO 

Aueduioy pure yjepang ‘1asyis 
"OD UOS}IC] IBATO 

LDH mots 

OF) UOSPIGG IOAYO 

Or) OISHY UOSOg 


pounoyj—AIY ye] VY} oA astvig 
sUDpp—UWd][RBsSniof Q ‘Ppso’y oy} esivig 
(‘Ajao syied F ul poystqnd) 
fa.ojQ—suly[eq ee SMOpeYs 94} SQ punoy AT[NJooveg 
apn f—SiIIIp[OS UetyslIyD “prsMug 
quDUO)—AIOT PIO 
UYORS Japua f[—P10'T 9} UL 4ySe1 O 
pinquoT—Woaye[qyeg JO UMOY, 913317 O 
POUNOLHH—YYOIVZE NY 
yoo g—[NIJYUR} Jaro Avoy AT 
HOLY —SIYWOIG, OUNNY pure yeoytuseyy 
(‘OISNUI [BOA JO SaMSvOU OF JSIG 9sn—0A WO yIed-F) 
pounon—svoddy AjaaoT 
uoynouy—spvey mod dn yrT 
jrDH—(TOr®D PIO) sproydoys 04} pue ydasor 
UYossjapua fT —Syivoy INOA [[@ YTS JT 
S1LL0 J —Pe9I T USYM YU. [ 
12pUD FJ —99} 9G} O1e [NJIyNvIG MOFT 
fhauuv W—(fOreD) PIO) BToqes] ‘aqyqouver ‘YoI107 & IIOP 
$1LioF7—Nos Au ‘yIVPT “Ae H 
(Ajuo syied F Ul ‘qng) 
lajybraT-ybnoj) *N—Ueaeoyx pure yyWe_ ysopey, yey} poy 
nvy—UId9C JON YP VAT 
NDH—(TOLB) PIO) 49H St Av svurystyy 
UYossjapua fY —[NJpuly, St psovyy oy} Ing 
Jay bray -y6noj,)—190urg imo suvoyy ATWYSUg 
74 6.uy—i93uey, B UI AVMY 


SWABINY GNV SHSOUOH’) NOSIN() 


SYUIOHO ALVIGHNUALINI GNV YOINDS BOX AUIOLATdAY 


156 CHURCH MUSIC AND WORSHIP 


‘OIG pue IOYOSIT “Ff 
Ree Lae iv te eS 
"OIG, pue JOST “¢ 
‘OD WOSTIG, IBATIO 

‘O*D oISNyA, WOJsoOg 
Aueduoy pure yyepimg “1ajIs 
TUG Ba CA Ba A oS 
IBYISIY] [IVD 

‘OZ WOSTG JIAO 

NG Pe) MON a srage eh LEY) 
‘OD MOS} IOATIO 
JOIST [Ie 


Auedwmo’, » pieyqoiig *9 ‘9d 
joyyng "YT Arey 
‘og AUING “Fy UOPARTD 


‘OD WOS}ICT IOAYO 
Aueduoy 2 UULy 

jaying “Ty Areyy 

Auedwo, xy pieqoig *9 °9 
OD FPIaAQos “dd MMqWwy 


OD) WOSTIG, IOATIO 
‘OD FY eping ‘12aTIS 
Oc) MOSH JOATO 


UUDWNYIFV—SUIpiqe VAoc] ATWIAVOY UT 
UYOSsiapua WT —p10'T 9} JOF poprem T 
UYOs & japUa PY —S1I9BUISS9M VY} V1v ATIAOT MOF 
pounoy—siyy ‘pox Aur ‘vaty} 07 AIOPH 
fourupwyo0y —19A910, SNOTIO[H 
asap.og— vq Ul VIO, 
hanayg—seurystiyg 

2ADU—snooszystI of CG “pris og 
4yod J —y1ey 94} Syued sy 
saiDWUag—jueyduIniy volemy 
JUOISUYO /—OBESSIJA, S VOLIDWUIY 
fiquipg—suryqyeoiq st are Ajoy VW 


SWGHINY ONV SASQUOH,) LUVd-OMT, 


as1aau0)j—sodlijg pue SIV} 94} JOpuy, 
uoz7]nouy—A10]2 UI pso'y vy} punoy 
189 4—PIO JO A109 JBOMS BRUT, 
(‘sqaed % ur qn) 
aulz0j—soao1I0 A AUB], JO punos oy], 
OSE TTES a Piel 4a Wet 
uoynouy—pisydeyg AU SI pio'7y oy], 
JapuUv FJ—OBie'yT OUI, 
FEEL wd 8 brent MAO ERA 
(‘sjied f ul ‘qng) 
usaaoyj29g —UlIF] WiepoIg SUdAVOFT VU], 
RUN PAS Let ee 
o1no —snulepney wneg oJ, 


penunu0j—SWaAHINY GNV SASNYOHD) NOSING 


penunuo}—SHIOHO ALVIGANUALINI GNV HOINDL AHOdX AHIOLYAdTA 


157 


THE INTERMEDIATE CHOIR 


IIUMITYIS “4 
TOULITYIS "4 


Ausdoioy % preyoug *9 °9 


JIULITYIS “4 

Ausdwoy yoinyqy uyor 
JOULINIG “9 

IAWLITYOS “4 

‘OZ UOSTICT IOAYO 

°0) APMAYS “d ANqyuy 
“OD FPRAWS “d MyVy 


"OD WOSzIC, IOAO 

"O*D UOSIC IAAYO 

‘OD FrlUYyIS “_ MmyqIy 
Aueduroy 2» wut 
Aueduioy AVry *M "Hf 
JOULITYIS “4 

°O*— WOSTIC[ IOATO 
JIyOsty [IBD 

OD Frags *_ anyqiy 


‘O*D WOSzI, IOATO 

PH 1904oS s3tRIry oS 
IIIS [IVD 

IOUS *4) 

"0D APMIS “d mypVy 
‘OD WOSTI IOAYO 

“OD APHAYS “d nqwy 
‘OD WOSP I2AO 


hayaygs—nos Aur yreyq “yrepy 
13712} {—Y}OMOS YCY]} SIV9z UT FT 
fysnoywyos J —SuolyeU [[e@ Jo por 
fayjayg—eaoTy pure odoy ‘yyreg 
ainv F¥—XYONID 
Jourupwyony—suo0g wiqniey)y 
uaus0gj—oUl 0}UN 9UI0O 
$a]t}FJ—[NFlo19u oy} oe possaig 
yovag—Ayz19qvy] Jo duos V 

stuiv 7—AQqeyny] s pasydeys ¥ 


SNGHINY GNV SA8SNYOH) LUV J-aauby 


49100 A{4—AIISPTL O “97 GUM 
bsaquorg—Sayunoy CQ ‘224} OF, 
9909 J —YWVI BY} YSOPISIA NOT, 
Urajsuqny— |o3UY IU], 
j4vUG—prsydeyg AUI SI pio'y oy], 
11ivg—psioydays poor ey], 
Jasdawog—AVM* IVJ |] Useds & ST 919, J, 
97U0 JY —SOTYS 9G} JO JoTNA UZIIIBAOG 
Lablag—][Ms oq ‘a0vog 

(‘Ayuo sqyied F ur ‘qng) 
79¥—AToY soul pIO'T O 
wopy—(PON ep enbryae)) yystu Ajoy O 
UYyossjapua yy —dIqsIoM sn yo] ‘9UI0D OG 
$2440 7 —9]d90}s 94} UL ST[eq O 
sauhT-19p —q[ 2} Moseds & YON 
07/320 J —}ABY VY4 SB IAT 
saufiT—speoy mod dn yy 
Japun F]—OB1vY 


158 CHURCH MUSIC AND WORSHIP 


‘OZ UOS}ITT IAAYO 
Auvdaog ABI “MW OH 


SUIOHD ITaady aNv 


"OD IPHUAYS “q nqWy 

‘Oy aoOsyd TIATO 

‘O*D WOSTIC, I9AYO 

OD Surysyqng osnyy YHUAg-o7y MA 
‘Ory WOSPC TIATIC 


‘O*) OISN], Woysog 

"OD yrmaryes “_ nqIy 
‘OD UOSTICT I9ATG 

"OD yrmayos “_q nypy 
"OD yprmaTyos “q my 
‘O*D oIsnyY Woysog 

‘Or) YISNYAL WO Wso_g 

‘OD SaIYsTqH omsnyL YIVUAG-9y AA 
‘O* MOSHI] IIATO 
JIULITYIS “xy 

TIULIMITOS “xy 

"OD yprAyS “_ NV 
‘Oy DOSP ISAO 
TIUITYIS “Ky 

"OD yprayS “_ MYWV 
"Od ISH WoOsog 


fiquing—Aof oyu yoy Yeoig 


faayy—outys ‘ostry 


(q}0q 10) ALVIGHUWHALN[ WO YOINDG HOA SWHHINY GNV sasouoH,) 


xouy—woyesnisp Jo voved ay} 10; Avid O 
DISOJ—OoY} [[BJoq ][VYS [IA ONT 


jrYH—}soyY oIgnieyo 9G} sy] 


4abanjig —JoB 10} NOY FTA SUOT MOFT 
fiov J —opiqe puv sjivay ino 0} suI0D 
SNUHINY GNV S€SQuoHD LUVg-xnoOg 


pjoniag—uopies ® a¥I] SI piom AQT 
pounoyj—T[tY Used B SI a0], 
fiquivog—p.0'7T ‘Aoraut AY} ST YOMG 
aj) ULIWOS—SUOG V[PpRID 8 psoydeays 


saufvT—yysy AY} yo puss 
pounoyH—snyourg 


§j4aQ0Y—NOL HIM SAI] [ VoVag 


juDUOQ—AYS BY} JO SIdIOA OG 
12aL4D)—poy Jo quivy O 


hanayg—oreo o[yues s Arey Jo pyryo O 
uYyossjapua AY —YSIU JO sopvys oy} MON 
Jahvy J, —oeni} Siatpjos vA ‘UO youryy 


jnvyHj—jsoy oIqnisyo oY} 4ST] 
UYyossjapua P[—SoXk9 OUIy) YT 
pounoyn—wieesni9p 


UYOS SapUa TY —PAO'T OY} 1OF PoE JT 
ponunu0yj—sWaHINY GNV SHSONOH) LUVG-daUny 


penunuo)—SuYIOHO ALVIGAWUAOINI GNV WOIND’ YO AHIOLYAdaY 


159 


THE INTERMEDIATE CHOIR 


"OD WOST AYO 

"OFZ UOSTIC IOATO 

‘OZ UOSyIGT ATO 
Aueduoy AVI *M 
Aueduioy AvID *M A 
‘0+ OST IOAYO 

‘O*—d UOSpIG IAYO 

‘OD UOSTG IATO 

"OF UOSHG AYO 

‘OD oIsny Woysog 
TOWULITYIS 

JOULAMYIS “9 

OF) UOSPT IOATO 

"O-D UOSTC IOAYO 
Aueduroy AVID “MH 
Aueduoy AVrg *M A 
Aueduoy Aerg “AA ‘A 
OF) UOSTIC, ISAO 
LOULITYIS 4H 

‘OD UOszI IANO 

"O*F) UOSTTG IIAO 
IOMLITYOIS *H 

‘O*) WOSTICT JIAO 
Aueduoy Avryg “MA “A 
‘02D UOSP JOAYO 

‘O*+ oIsny WosOg 
IOMLITIIS “WD 
Auevduioy Avy “MA OH 


JOVIITYIS “4 


quDULG—preydeys AU SI ploy ayy, 
fiquing—p.0'T ‘Aorta AYY St yoMG 

a9uad J—BUIMdA9 JO sapeys oy} ATIJOS 
pounoy—jq ul snyoues 

sLapunn Jy —Wo]esnise O ‘Pso’yT oy} osteig 
j4DULG—PiO'T oY} ostBig 

4aL40JJ—SMOPBYS 94} SN punod A[TMJoovog 
aind J—soyouvig wyeg 

4940IUYIG—SJOIP[OG UBISLIYO ‘przeaug 
siapunn py—sury ay} diysi0oM O 
fiquivg—syiom AY} o1e pjojiuvUL MOY ‘pioTyT O 
fiquing—ojqetme MOY O 

asolgUp—Ssnsep p10'T ‘yavay AU 0} OUIOD G 
49UWL8 0 J —JOY OT 

pounojn—svoddy ApaaoT 

siapunn pY—doey pure piens uoipyiyo Ay} ‘pio'T 
surydof7—spreey mod dn qyrqy 
aytq—o9]}Ues pue yooul ‘snsor 

pounoyj—ooq} Un} GQ “Wepesnisp 

aoued J—pi07T CQ ‘9043 Aftuseul [IM JT 
yong—sureyunou 94} Uodn INJyneeq MOFT 
aunp.v fon J —Y}94S1ty} JVY} VUO ATOAD OFF 

11° H—[82 [ Woy our vay 
sNalpuyy—poyULOUY S.Pslo'T Iq} 0} [IBFT 
LaxIIUYIV—([VUOISS900yY) SIOY}EF MO JO poxyy 
foulunwmyovy —J9AVIO} SNOTIOT 

nav g—(uUAFT J9ysvy) Seq BISA 

aby J—oulod ssepuog s.ydABy WoL 
JIUWIF—SO}VS OY} OPM BUILT 


160 CHURCH MUSIC AND WORSHIP 


"SSB, ‘WOYSOG “JoI}G 1O}S9QOULM FHF “OD Surystyqng oisnyL WPUIS-9pIT MA 
‘Sse ‘UOysog ‘enusAY snquinjoD 1g% ‘Auveduoy pues yYoeping “1eAlISg 
uoysog ‘joo139 UOy]AOG OST “OD ¥plays ‘q MyAWy 
AY) YIOK MON ‘49919S PASp VA F “AOUAMIS “4 
"TI ‘odvorqg ‘onusay yseqvAg “S 63h “OD AuMUING “Yy uoyAR[D 
‘Sse ‘UOYsog ‘sovjg UoPNqYsy ¢T ‘AuvduoD 2 uUIXy 
AY) FIOK MON ‘192115 WISH SOM B ‘(OT]PAON) Ateduloy AvID *M “H 
“AWD YIOK MON ‘asnoy aqQig “o1g pus Jotoshy “¢ 
"AUD YIOK MON ‘orenbg sado0o0y gp “Toyosty [IVD 
‘ssvp, ‘U0ysog ‘390139 PWOUIOIT, GLI “OD WOsz(] J2eATO 
AY FIOX MON ‘49911S PussE ISAM 6S ‘AUD YIOA MON ‘Aueduioy yomyy uygor 
TI] ‘osvo1yD ‘prvaofnog woysuIyseAA LS6l “TlIN_ “T AICI 
‘ssuf[ ‘UOjsog ‘onusAY snquinjoy 1%% ‘Aueduloy w® preyoIg *D °O 
‘ssv ‘UOSOG ‘JO211G YAM 9S “OD ISN] Oso 
‘SUGHSITANG OL ATY 


Oc) MOSH IANO  sOUpY ‘Iodreyy “| [req ‘yoog Weyyay ozerpoutsezuy-JoruN fF oy, TY, 


IOMAITYIS “4 IOWIpy ‘soureg °S prveMpy “Yoog Woyy 8 UsIp[lqy oT 

IIWMIIIYIS “4 Loppy ‘souieg °S preapy ‘yoog Woeyyuy sJorune ogy, 
SNOLLODTIO’D 

‘OD DoszIq I9ATIO shfiisgq—vopne pjo ut yap o1aq J, 

"OZ—D DOS JIAO a01ayjor J —wWyesg S praydoys oq] 


SUIOHD Lindy GNV (q}0q 10) ALVIGAWUGIN] YO YOINDF Od SWAHINY GNV SASOUOH) 
penund0)—SyIOHO ALVIGAWUALNI GNV WOIND? YO AUIOLYAdTa 


CHAPTER X 


THE YOUNG PEOPLE’S CHORAL 
SOCIETY 


A very short chapter will suffice to treat the 
organization and work of this choir. In the 
beginning of the establishment of a musical 
program this choir may not be needed. A Junior, 
Intermediate, and Senior Choir may suffice. 
But if the work is carried on consistently over a 
period of years, there will come a day when this 
choir is absolutely necessary. There is a question 
as to whether it had not better be organized in 
the beginning than put into the program later on. 

As the Intermediates go from the Intermediate 
to the Senior Department of the Sunday school 
there is a definite break in their association with 
the younger group of boys and girls. The young 
men’s and young women’s clubs, and the Epworth 
League or Christian Endeavor claim them. 
Within a very short space of time they grow up 
into young men and women. 

Now, at the first, those who are especially 
gifted may be inducted into the Senior Choir. 
But very soon this choir, which, as we shall pres- 
ently show, must be composed of _ thoroughly 
capable singers only, fills to overflowing. It 
is a kind of blind end to a lane. Singers of the 


very greatest skill are associated with singers of 
161 


162 CHURCH MUSIC AND WORSHIP 


much less skill. The seats and the vestments 
are all used, and presently there is no room for 
others, no matter what their qualifications. 

At the same time it is not at all desirable to 
discourage a group of people possibly large in 
numbers who really desire to continue to sing 
and study the music of the church. 

So the Young People’s Choral Society may be 
instituted, correlated with the Young People’s 
Society or with the Young People’s department 
of the Sunday school. To this society such 
graduates of the Intermediate Choir as are fairly 
competent musically are promoted, and here 
they remain as long as they desire to sing, unless, 
by reason of exceptional gift, they are chosen as 
members of the Senior Choir. 

In the course of time this society should be- 
come one of considerable size, and of the very 
greatest aid in presenting the heaviest musical 
works. 

A special director may be employed here, or, 
preferably, the director of music for the church 
should take charge. 

While the Senior Choir is constantly studying 
the more difficult music and carrying on the 
Sunday-to-Sunday work, this society may be 
rehearsing the choruses of a special cantata or 
oratorio to be presented at some future date. 
Then it may be brought into final rehearsals. with 
the Senior Choir and the work given bythe 
augmented group. 


‘ 


YOUNG PEOPLE’S CHORAL SOCIETY 163 


At the same time this society affords an oppor- 
tunity to prepare anthems and provide unusual 
leadership for the young people’s meetings, for 
an occasional special young people’s service in 
the church, and for preparing entertainments, 
dramas, pageants, or other special features for 
use either in religious services or in money-making 
enterprises of the church. 

And all the while there is the training and 
preparation of singers for promotion to the Senior 
Choir. When this promotion comes the fortu- 
nate person may or may not sever his relation 
to the Young People’s Choral Society according 
to his own wish and judgment. 

The musical repertoire of this society may be 
chosen from the more extensive one of the Senior 
Choir, and should especially include the prepar- 
ation of the chorus parts of such complete works 
as have already been alluded to. 

But in.addition the regular meeting for 
rehearsal affords the very finest opportunity for 
dramatic training and endeavor, for preparation 
of plays, pageants, and spectacles, religious or 
secular. 


CHAPTER XI 
THE SENIOR CHOIR 


A. MEMBERSHIP 

This, the official choir of the church, should 
be composed of singers who pass a strict vocal 
and musical test. Incorporated in this choir 
should be the professional soloists or the quartet, 
if one is employed. 


B. REHEARSAL 


Every endeavor should be put forth to make 
this choir capable of as finished and _ artistic 
rendition of musical works as possible. 

To this end a portion of each rehearsal should 
be spent, as with the other choirs, in training the 
singers in musical and vocal technique. The 
writer has for years spent ten_to fifteen minutes 
at the beginning of practically every rehearsal 
in training his singers in tone placement, artic- 
ulation, and diction; in correct phrasing; in 
realizing the harmonic richness or the contra- 
puntal interest of the music sung; in emphasis 
upon dynamic contrasts, and in the rhythmical 
form and structure of vocal music. Sometimes 
this is done by using an anthem or chorus.as an 


exercise. More often it is done by straight- 
i 164 bhi 


THE SENIOR CHOIR 165 


forward singing of vowels in scales, arpeggios, 
and turns, by special attention to the consonants, 
and in simple exercises prepared for the special 
abject in view. 

There is no place here for detailed nor extensive 
discussion of the technique of choir training. 
Several works on this subject are’ mentioned in 
the bibliography and should be carefully read 
by the director. But the director of the church 
music, as has already been emphasized, should be 
a well-trained and thoroughly schooled musician. 
He should be a singer, or at least thoroughly 
acquainted with vocal principles. There is en- 
tirely too great a tendency to simply require 
organ. playing ability of the director of church 
music. It is very desirable that the director 
shall be familiar with the organ, but it is by _no 
means desirable that he should direct from the 
organ. In exceptional cases, especially in 
churches where adequate financial support cannot 
be provided to employ both a competent organist 
and a director, an organist director may give fair 
satisfaction. But it is impossible for a director 
to o fully carry out his task and play accompani- 
ments at the same time. If he is to obtain the 
best possible results, and if he is to serve the 
church by really developing the capabilities of 
its people, the director must be able to impart 
vocal instruction in an expert manner, and he 
must be free to use all his energy at rehearsals 
in so doing. 


166 CHURCH MUSIC AND WORSHIP 


C. Direction Witu Baton 

Every choir of twenty or.more voices should 
be directed in its public singing. Many cheap 
flings have been taken by writers on church 
music at the practice of directing the choir with 
a baton. There seem to be several reasons for 
this attitude. First, some organists seem to 
fear they will lose the direction of their choir if 
it is insisted that the baton should be used. 
Secondly, just as in the case of congregational 
singing, many people urge that the presence of a 
director mars the spirit of worship. Third, 
many argue that there is no need of a director, 
that a choir can sing well without. 

These are not valid objections nor arguments. 
The organist is not, as organist, equipped nor 
qualified to train and direct a choir. A solo 
quartet gets along very well with direction from 
the organ, but this is vastly different from a large 
choir. ‘The members of a solo quartet are trained 
singers. They bring to their task, supposedly, 
mastery of musical and vocal technique. They 
need only to be trained in interpretation of 
specific musical selections, and even then their 
personal judgment may safely be permitted 
considerable play. The organist helps them as 
interpreter of the music, and then serves as an 
expert accompanist. This may be true even 
when a double or triple quartet of trained singers 
is employed. 

But the chorus choir, the ideal choir for church 


THE SENIOR CHOIR 167 


service, is composed of singers of varying degrees 
of technical equipment and skill. They all have 
good voices and natural musical ability. But to 
bring them to sing well together, with evenness 
of tone, balance of harmony, clearness of attack, 
distinctness in enunciation, perfection of rhythm 
—in a word, genuine choral artistry, is quite a 
different task from assisting a solo quartet to 
work out its interpretations. The organist as 
such is not equipped for this task, and if he is 
equipped, he is sadly handicapped in his leader- 
ship if he must remain at the organ. There is no. 
valid reason for continuing to consider the two 
tasks of organ playing and choir direction as one. 

As to the desirability or nondesirability of 
having a director before the choir, practically 
the same arguments apply as in the case of con- 
gregational song leadership. The director him- 
self must learn to be decorous, reverent, and 
unobtrusive. If he is a truly skilled leader, he 
will not make exaggerated motions nor make 
his presence unduly obvious. The better trained 
his choir becomes, the more perfect the accord 
established between himself and his singers, the 
less obvious will his leadership need to be. Wide 
sweeping beat and emphatic leadership will be 
reserved for such climactic and telling passages 
as justify the physical effort put forth by volume 
of tone, sweep of rhythm, and by the emotional 
effect produced among the people of the congre- 
gation. Much depends upon the director. At 


168 CHURCH MUSIC AND WORSHIP 


the same time the people, and ministers among 
them, must adopt a sane attitude in the matter. 
They must reflect that whenever they hear choral 
music, in the concert room, the opera house, or 
the oratorio hall, or whenever they hear ensemble 
music played by orchestras or bands, they always 
see a director actively leading his musicians with 
the baton. And it does not occur to them to 
resent this, though emotional and spiritual results 
are to be achieved by the chorus or players’ 
ensemble quite comparable to those desired in 
the church. Let the director take thought for 
his own conduct, and let the people realize that 
they may be somewhat prejudiced, and this 
difficulty will disappear. 

The whole contention for active leadership of 
the church choir finally. depends upon the neces- 
sity for it. And many there are who will assert 
that well-trained choirs do not need the services of 
a director, that they can sing quite as well without. 

This can only be true in the case of a group of 
singers who are together for a long period of time 
without change of personnel, and even then the 
truth is questionable. Some choirs are so. well. 
trained that they sing wonderfully well without 
leadership. But in nearly, if not quite every 
case, they. would | sing better, with greater.freedom 
and.more positive and. compelling. emotional 
effect. with direction. Then, too, the church 
choir must constantly be preparing new music, 
anthems for the services of succeeding Sundays, 


THE SENIOR CHOIR 169 


and special works for special services, festivals, and 
other like occasions. With the same _ direction 
in public that is experienced in rehearsal the time 
of preparation may be materially shortened in 
every case. A thoroughly trained choir can sing 
a comparatively simple anthem thoroughly well, 
with very little rehearsal, if directed. 

The writer does not hesitate to turn from his 
place in the pulpit as preacher and leader of the 
service of worship, to personally direct his choirs 
in their singing, and he is just as conscious of 
ministry and leadership in worship doing the one 
thing as the other. And though he does not 
actively and obviously direct the congregational 
singing at the morning service, he is able, with 
very slight gestures, through his choirs, to com- 
pletely control the singing of every hymn, 
response, or chant. Likewise is he able to effec- 
tively guide the people in their reading of the 
Psalter, and in unison prayer. He takes the 
baton and directs the anthems just as he does 
at any other service, and, being absent from 
his pulpit on occasion, necessitating the choir 
to sing without leadership, the-people of the 
choir and congregation alike testify that the 
anthems are never quite so freely and well ren- 
dered without direction as with it. 


D. PrrsonaL REQUIREMENTS OF THE SENIOR 
Cyuorr MEMBERS 


The Senior Choir establishes the standards 


170 CHURCH MUSIC AND WORSHIP 


and sets the example for all the musical service 
of the church. Appeal for personal loyalty and 
thoughtful conduct in all rehearsals and services 
is made on this basis. Standards that are high, 
even exacting, are established, and those who 
do not find themselves willing to accept these 
soon find the atmosphere of the choir uncon- 
genial, if, indeed, they are not kindly asked to 
withdraw. So far from making the organization 
and continuance of the choir more difficult, the 
right kind of people respond to this, take pride 
in their choir and their work, and materially 
aid the director and the pastor in spreading 
abroad a wonderful spirit that actually affects 
for good the work of every department of the 
church, musical and nonmusical. 

Regular attendance and punctuality at re- 
hearsals and services are required, of course. 
The irregular attendant at rehearsal fails to 
progress personally in development of musical 
and worshipful endowments, and likewise holds 
the choir as a whole back from the progress 
it might otherwise make. The regular attendant 
at rehearsal who is absent from the regular 
services of the church when the choir sings con- 
tributes to its failure to measure up in public 
rendition to the standard of its nonpublic 
rehearsal. The members of this choir (and of 
all the choirs, for that matter, though in the case 
of the Senior Choir the standards are more relent- 
lessly upheld) must regularly and punctually 


THE SENIOR CHOIR 171 


attend rehearsals and public services. Any falling 
short of this requirement will make for failure 
of the choir to attain the greatest possible artistry 
and _ usefulness. 

No system of fines, roll call, or any other 
feature savoring of complex organization is intro- 
duced unless the organization is very large. 
Appeal is made personally by the director and 
reenforced by the spirit and attitude of the 
members of the choir. And this is sufficient. 

In the public services rules and regulations as 
to personal conduct are eschewed. The director 
simply explains, as fully and earnestly as he 
can, the nature of the service of public worship, 
points out to the choir members their opportunity 
for contribution to the spirit of worship, offers 
a prayer at the beginning or close of the rehearsal 
and again before going into the church to sing, 
and trusts the singers to respond to the respon- 
sibility put upon them. If it should be dis- 
covered that some members of the choir do not 
thus respond, a-personal exhortation might be 
made, and this failing, a seat would be left vacant 
to be filled from the ranks of the younger choirs, 
or by some aspirant to membership. If the 
appeal is_made in the right spirit, human nature 
will respond almost if not quite invariably. 
The choir comes to have the same consciousness 
of responsibility for leadership and inspiration 
of the congregation in the service of worship as 
the pastor himself. 


172 CHURCH MUSIC AND WORSHIP 


E. Tur Soto QUARTET 

Ofttimes directors complain that they have 
trouble with their choirs because of the desire 
of certain members to have an opportunity to 
sing solo parts. This is a difficulty that arises 
from the natural aspirations of the singers. Those 
aspirations should not be repressed, but guided. 
But a real problem does arise here which must 
be met by a firm, thoughtful, and kindly attitude 
on the part of the director. 

Here is the place for the solo quartet. If it be 
possible, such a quartet should be engaged, and 
to its members entrusted the responsibility for 
all solo work. These singers should be engaged 
on a strictly professional basis, and professionally 
required to give satisfactory service. They be- 
come vocal leaders of the four sections of the 
choir in its general musical work. In anthems, 
and especially im cantatas, oratorios, or other 
similar works, they bear the same relation to the 
choir as the soloists in any professional oratorio 
rendition bear to the chorus, .except that they may 
be required to sing more or less on the chorus parts 
with the choir. If possible, however, their voices 
should be saved for the solos, and only put into 
the choral singing when the solos are finished. 

If a solo quartet is not available, regular soloists 
might be appointed from among the choir 
members, or choice made by the director from 
time to time. There should never be encouraged, 
however, a general passing around of solo parts. 


THE SENIOR CHOIR 173 


Incompetent singers will be certain to mar the 
public rendition of anthems from time to time. 
Frankly and firmly the director should lay claim 
to the privilege of choosing soloists strictly with 
regard to their competency. 

In rendition. of special works where difficult 
solo parts are involved it is advisable to employ 
special soloists to come in and sing these. _Pro- 
fessional courtesy..forbids that im such a case 
inexperienced and untrained voices be assigned 
solos in company with the professional soloists 
thus engaged. 

Unquestionably there is a delicate and difficult 
problem involved just here. The director who 
is interested in his people in a personal way longs 
to have them develop to the fullest possible 
extent. Consequently he greatly desires to allow 
some of them to sing solo parts, or duet and 
quartet parts occasionally as a means of affording 
them encouragement and experience. But he 
must be very careful. It is .saferfor..him_to 
require that aspirants to solo parts shall be 
advanced vocal students, with experience..1n 
recitals and private concerts. He may arrange 
that the better singers of the Senior Choir shall 
occasionally serve as soloists with the Young 
People’s Choral Society, or in the Sunday school, 
young people’s society, or prayer meeting. But 
in the regular Sunday services of the church he 
will permit none but the competent and expe- 
rienced singers to have special parts. His own 


174 CHURCH MUSIC AND WORSHIP 


sincerity and tactfulness will determine to a 
large extent whether he will be successful in 
dealing with his singers on this basis. The best 
solution of the problem is the engagement of the 
solo quartet. 

The chief use of soloists should be in con- 
junction with the choir. Special solos have a 
place and a usefulness in the service of worship, 
but they should be used. somewhat sparingly. 
Undoubtedly they are often productive of a mood 
of mere entertainment rather than worship. 
Much depends, of course, upon the soloists, but 
at best he or she should be employed to sing 
carefully chosen numbers that have a _ very 
apparent and definite relation to the theme of 
service or sermon. If the attention of the con- 
gregation can be centered upon the text of the 
solo, and not upon the singer, all will be well— 
providing, of course, that the text is fitting for 
use In such a service. 

The congregation has some responsibility. The 
people should be taught and should make a definite 
effort to center thought upon the words sung 
and the spirit manifested rather than upon the 
voice, technique, or mannerisms of the singer. 
The pastor or director can afford assistance to 
this end by personal attitude, careful statement 
to the congregation during.the song rehearsal, 
and by thoughtful and sincere comments upon 
the attitude and spirit of the singer. 

If these rather difficult tests can be met, solo 


THE SENIOR CHOIR 175 


singing has a real and effective place in the service 
of the church. But ensemble singing is, as a 
rule, preferable and more effective. The soloists 
may be used as a quartet to render one of the 
anthems at each service, providing variety, estab- 
lishing a high standard of musicianship, and 
lessening the time that must be spent by the 
choir in anthem rehearsal, thus freeing it for 
better and more finished work on the anthems 
it does sing, and for preparation of special music 
for future occasions. 


F. SpecrtaL SERVICES OF THE CHOIR 


Special programs of music and worship should | 
be given from time to time. ‘These are attractive, 
religiously helpful, and have a value in giving 
publicity to the musical program of the church. 
Such programs should be very carefully prepared, 
always in cooperation with the pastor, if, indeed, 
he does not prepare them himself. They should 
involve only choice music, music of worthy 
religious character, and should preferably deal 
with some subject or theme of Christian life and 
experience. The rendition of complete works 
is effective if the atmosphere of the concert 
hall can be eliminated. A word of explanation 
by the pastor, setting. forth the theme and pur- 
port of the cantata or oratorio in hand, the 
reading of a fitting Scripture lesson, the offering 
of prayer, and the introduction of an_ offering 
as an act of worship will aid in this. Great care 


176 CHURCH MUSIC AND WORSHIP 


should be taken in arranging the order of service, 
however, so that there is no sudden and disagree- 
able break in the continuity and progress of the 
music itself. This dissipates the emotional and- 
spiritual effects of the rendition, and discourages 
people of artistic temperament and apprecia- 
tiveness from attendance. 

As a general rule, no sermon should be preached. 
There are several reasons for this. First, the 
service will be made too long, or the musical work 
will have to be mutilated. The emotional inten- 
sity of the service makes an overlong extension of 
it particularly undesirable, while to present a 
musical service based upon an oratorio or cantata 
in incomplete form is as inexcusable as to preach 
a sermon that is incomplete. Secondly, the great 
works of religious music are complete develop- 
ments of a theme or message in themselves, and 
the people of our churches should be acquainted 
with this fact. The insistence upon a sermon 
with every service of this kind reflects upon the 
acquaintance of the pastor with the nature and 
scope of the work involved, or upon his faith in 
the power of music to carry to people a complete 
religious message. Third, this attitude puts the 
minister. in the position..of. insisting that only 
his sermon is a really effective means of presenting 
the Christian.message to a congregation, an atti- 
tude that is arousing more and more resentment 
on the part of many people with each passing day. 

For the most part, when a special service of 


THE SENIOR CHOIR 177 


music and worship is announced, the evening, or 
‘perchance the morning, should be given over to 
it, the pastor cooperating in every possible way 
with the choir director to make the service spirit- 
ually, instructively and inspirationally effective. 

This does not mean, of course, that the preacher 
may not plan sermons and services in which 
choice portions of oratorios or cantatas, special 
anthems, hymns, or responses shall be used to 
lead up to and prepare the way for his message. 
It is simply an insistence that occasionally the 
service of music and worship should be given 
full right of way, and that such a procedure will 
meet with public approval and response. Pos- 
sibly the solution of the evening-service problem 
lies just here, in part at least. No means of 
making any service of the church attractive and 
at the same time religiously helpful could be more 
dignified, reverent, or fraught with good_by- 
products in cultural and_ social development. 

“But it is not only in this definitely religious 
manner the choir may render special service. 
Occasional concerts in which secular choruses, 
carefully chosen operatic extracts, or dramatized 
sacred works are presented add. to the cultural 
development of the choir, the entertainment and 
enjoyment of the people, the prestige of the 
church, and possibly to the income of the treasury. 


G. SocraL Lire of THE CHOIR 
Special attention should be given to the social 


178 CHURCH MUSIC AND WORSHIP 


life of this choir, and, for that matter, of all the 
choirs. But the Senior Choir stands_.a_ little 
apart and independent from the general program 
of the church, while the others are intimately 
identified with the general program of the Sunday 
school, Intermediate and young people’s so- 
“cieties, with their fully developed social pro- 
grams. 

A brief recess at each rehearsal affords a regular 
opportunity for social converse and fellowship. 
Sometimes this recess may be utilized for special 
discussions, for a little relaxation in games, stories, 
or entertainment, or it may be utilized simply 
for a general moving about and conversing on the 
part of the singers. 

An occasional special social for the choir and 
personal relatives or friends is advisable, as well 
as attendance in a body at some worth-while 
concert, recital, opera, oratorio performance, or 
symphony program. The wide-awake and appre- 
ciative church will raise money and pay the 
expense of the Senior Choir to at least one such _ 
concert.or program. as..this..each.year. The 
fellowship on such an expedition is not less worth 
while nor less conducive to the development 
of the choir than is the hearing of good music, 
possibly of some choral work which the choir 
itself has in its repertoire. 

To a limited extent, possibly two or three times 
a year, this choir might journey to other towns. 
or communities and render concerts, engage in 


THE SENIOR CHOIR 179 


choral competition, or participate in some ta! 
choral production of a familiar..work. 

The Senior Choir, carefully organized, artisti- 
cally trained, guided into a spirit of religious 
ministry and service, used according to careful 
plans and programs in regular and special services, 
leading the whole church in worship and spiritual 
inspiration, attracting many people to the church 
who would not otherwise come, can and will be 
a very choice instrument of God in carrying on 
the work of building his kingdom here on earth. 


CHAPTER XII 
COOPERATIVE CHORAL EFFORTS 


Tuts chapter will deal rather more with actual 
experience than theory. In the great and wide- 
spread endeavor to bring about unified activity 
among the churches of Christ no greater oppor- 
tunity exists than that related to music and 
worship. 

There is no necessary reason why a number of 
churches might not band themselves together 
for the development of great programs of music 
and worship. Whereas no-one. of them might be 
able to employ a full-time director, three or four 
together might do this and each have a day of his 
time, possibly taking turns in the matter of his_ 
presence and leadership in the public services. 
Occasional union services, with combined choirs, 
under the leadership of this director, would then 
be a genuine possibility. 

But even in the absence of any such unified 
program, carried out under one direction, it is 
entirely possible for cooperating choirs, under the 
leadership of their own directors, to study the 
same service programs, anthems, cantatas, or 
oratorios, and then to combine in some central 
place, under a competent director, with full 
orchestral accompaniment and __ professional 


soloists, in a great sacred concert, or better still, 
180 


COOPERATIVE CHORAL EFFORTS 181 


in a genuine service of worship. Such efforts 
attract_and inspire great audiences of people, 
and at the same time help establish high stand- 
ards of musie and worship in the cooperating 
churches. The influence in thus establishing 
higher standards and pointing the way to new 
ideals is not confined to the cooperating churches 
alone but spreads swift and far. 

Of course such efforts require careful planning 
and handling. The director himself must be 
one musically and personally acceptable to the 
choirs and leaders involved. Individual directors 
might take turns in directing the combined choirs, 
but everything savoring of personal rivalry or 
jealousy must somehow be resolutely put into 
the background or the spiritual and fraternal 
purpose of the entire work will be dissipated. 

Some opposition and much indifference to such 
efforts admittedly arises from selfishness or jeal- 
ousy on part of individual directors, and _ still 
more from their entire failure to subordinate their 
work to the total work of the Christian Church. 

On the director’s behalf, however, it must be 
here clearly stated that much of this opposition 
or indifference is really justified. Too often 
clergymen and lay leaders go forward in blissful 
ignorance of true musical and artistic standards 
(and ofttimes even of standards of public worship) 
and arrange union services which discourage and 
repel their_musical friends, and goodly numbers 
of their audiences as. well. 


182 CHURCH MUSIC AND WORSHIP 


The average “evangelistic song leader’ is no 
more fitted to direct a combined chorus and a 
great service of this kind than the local 
plumber—ofttimes less. To propose a program of 
cheap, tawdry music, jazz gospel songs and 
“wishy-washy” anthems to such a chorus as has 
been suggested is a certain step toward failure. 
To bring the singers and their directors into a 
service and use them as “also-rans,’ merely 
ornamental and almost superfluous adjuncts of 
the service, savors of open discourtesy—though 
in reality it simply results from thoughtlessness. 
One of the leading organists and directors of music, 
both in the secular and religious fields, told the 
writer not long since that the average clergyman 
conducting a religious service (and this man has 
played and directed at some of the very largest 
mass meetings and services in this country) 
treated him like a kind of “highly trained and well 
paid clown.” This man was speaking earnestly, 
out of a heart filled with respect for religion, for 
the church, and for religious leaders, but likewise 
with respect for his own profession and for himself. 

When will the ministry and laity alike awaken 
to the fact that the competent choir singer, the 
organist, and the director of church music are 
ministers with responsibility for a very large part 
of the work of the Christian Church, entitled to 
consideration and regard as having very sub- 
stantial rights of their own? 

Let programs of good music be proposed in 


COOPERATIVE CHORAL EFFORTS 183 


connection with union services, mass meetings, 
and the like, and let musicians be invited with 
the feeling that they are to have a real and impor- 
tant part in the work in hand. Let a recognized 
and competent director be engaged, even at 
considerable cost, professional accompaniment 
provided, if necessary competent soloists engaged, 
and the concerted singing of competent church 
choirs, either in services of worship, union religious 
meetings, or great sacred concerts, will become 
quickly a possibility realized. 

A great difficulty in providing or securing 
competent choral leadership for revival meetings 
lies just here. Too often revivalists, both 
preachers and song leaders, seem to put. a. pre- 
mium upon cheap music, downright sensual excite- 
ment of the people, and even upon mere entertain- 
ment and amusement. Antics, jesting comments, 
matching of one section of a congregation against 
another, not in training but “just for fun,” some- 
times the singing of two or three different songs 
at the same time by different portions of a con- 
gregation—in a word, anything but good congre- 
gational song and reverent worship—seem to 
prevail. Leader and accompanists alike too often 
seem to view their work as a kind of vaudeville 
engagement. 

True lovers of music and of earnest, reverent 
worship are almost driven frantic by such shows. 
They cannot understand, and so long as they are 
true to themselves they never will understand 


184 CHURCH MUSIC AND WORSHIP 


why their ministers think it their duty to support 
them. Careful consideration and analysis of a 
certain type of revivalistic leadership would 
reveal to thinking religious leaders the fact that 
while an effort has been made to save souls, 
sincere enough, perhaps, high standards of life, 
thought and culture have been ruthlessly swept 
aside. 

Now, the revival meeting is not a time nor 
place for concertizing. There is real need for 
sincere gospel songs of simple sentiment and warm 
emotional quality. But there is no reason why 
the music of a revival should not be good music, 
the text of hymns and songs good literature, and 
the special choral pieces, anthems, or other choral 
forms, worth-while music carefully chosen for 
correlation with the thought and theme of the 
service, but chosen from the abundant repertoire 
of great, or at least good, church music. Above 
all there is no reason why the services, attractive, 
brilliant at times, thrilling to the senses as they 
need to be, should not always be so planned and 
conducted as to let any member of chorus or 
congregation reflect at any moment that he is in 
a house of religious worship, in a tabernacle of 
the Christ who preached “the more abundant 
life,’ without a sense of incongruity, even absurd- 
ity stealing over him. 

A very special attention needs to be given to 
the services of music and worship at those con- 
ventions, institutes and conferences of the church 


COOPERATIVE CHORAL EFFORTS 185 


where the leaders of many local religious organ- 
izations gather together to consider accomplish- 
ments of the past and to Sea for accomplish- 
ments of the future. 

Here is one of the very Peenteet religious educa- 
tional opportunities that can be found in the 
entire religious life of the world. But how often 
is a song leader engaged, given little or no financial 
support with which to build a worthy and helpful 
program, and called on from time to time as a 
kind of chore man to lead a song, possibly not 
even of his own choosing, just to pass the time 
away and rest the audience for the next speech. 

Here is the time and place for religious leaders 
to call in a trained and experienced director of 
religious music and worship, to provide a budget 
big enough to enable him to employ whatever 
professional assistance he may need, to give him 
personal support in his appeal to churches of the 
convention city, or to the attendants of the 
convention itself for a great chorus choir, and, 
above all, to grant him definite and representative 
periods of time in the general program when he 
may have full right and protection from inter- 
ference or infringement to develop and lead well- 
planned and adequately supported services of 
worship. Here is the time and place to bring 
into service the very best soloists, organists, 
pianists, and orchestra players available. Quite 
certainly is it a time and place where nothing 
ought to be left to chance, and where mere seekers 


186 CHURCH MUSIC AND WORSHIP 


after publicity and places in the limelight should 
be discouraged. Quite as certainly is it a time 
and place where and when the hiring of players 
and singers to merely entertain, with however 
worthy music, should be frowned upon. Real 
services of music and worship, with congrega- 
tional participation and dedication to the 
advancing of the spiritual interests of the 
gathering, should be insisted upon and can be 
had. 

It requires expenditure of money, careful and 
painstaking consideration and thought on the 
part of officials in charge of the convention, 
thoroughgoing cooperation with the director, and 
firm adherence to new plans and standards until 
they become permanently established. But the 
results amply repay any expense of money, time, 
or pains. 

So among churches in any local community, 
whether village or city, even among churches of 
different, but neighboring communities, cooper- 
ative effort in building and carrying on an educa- 
tional program of music and worship is possible. 
In union services and meetings, and especially in 
conventions, institutes and conferences cooper- 
ation of gifted musicians and choral singers can 
be obtained by providing competent leadership 
and upholding high standards of music and 
worship. And all the while the churches thus 
cooperating may continue in the consciousness 
that they are leading their people, and all the 


COOPERATIVE CHORAL EFFORTS 187 


people who come under their influence, in the way 
of “more abundant life’ and brotherly love. | 


A. AcTUAL INSTANCES OF COOPERATIVE ENDEAVOR 


In harmony with and in illustration of the prin- 
ciples advanced in the foregoing section of this 
chapter a few actual instances of successful co- 
operative endeavor are herewith set forth. 

1. The Norumbega District Hymn Festiwal. 
This festival, conducted under the auspices of the 
Norumbega District Sunday School Association 
of Massachusetts, has been in progress for five 
years. Thirty-five churches, of seven different 
denominations, with a total Sunday-school enroll- 
ment of 7,780 pupils, are involved. 

When the festival was first proposed and inau- 
gurated the purpose was mainly hymn memoriza- 
tion, with a mass gathering where these hymns 
should be sung by all the ‘schools together. As 
time passed progressive changes were made in 
purpose and method. Last year (June, 1923) 
the festival had reached what may be regarded 
as its highest development thus far. Long in 
advance of the festival date itself hymns were 
chosen, together with chants, responses, and an 
anthem. All these were chosen with a view 
toward building a unified service program. 
Memorization was not required but careful 
rehearsal of the various portions of the service was 
urged. Under the auspices and influence of the 
festival the cooperating churches have been 


188 CHURCH MUSIC AND WORSHIP 


urged to organize Junior and Intermediate Choirs. 
Such churches as had done this were permitted 
to send delegations of singers to make up the 
festival choir. All the choirs rehearsed the 
anthem under their own directors, and then, with 
one short rehearsal under the festival director 
just before the service itself, the anthem was 
perfected and ready for use in the festival. 

A little booklet, containing the chosen stanzas 
of the various hymns together with full and 
detailed instructions concerning the festival itself, 
was distributed several weeks before the final 
service. At the service a program, with the 
hymns printed in full, was placed in the hands 
of every attendant. 

Only Sunday-school pupils, officers and 
teachers, and adults accompanying children were 
permitted to take part. 

A great processional opened the service, the 
children being marshalled at a church two or 
three blocks distant from the spacious Elliot 
Congregational Church (Newton, Mass.), where 
the festival has been held since its inception, and 
with leadership of trumpets, marching to the 
festival church singing “Onward, Christian Sol- 
diers!’’ In the van of the procession marched 
choir boys from Episcopal churches, vested, and 
carrying crucifixes and banners. Christian flags 
and banners of churches and Sunday schools gave 
color and interest to the whole. As the vanguard 
of the processional entered the church the waiting 


COOPERATIVE CHORAL EFFORTS 189 


choir, with support of the great organ, took up the 
hymn. So large was the attendance and so great 
the length of the procession that this entire hymn, 
four full stanzas and refrain, was sung through 
five times before all the marching hosts had 
entered the church and taken seats. 

The program was carried out with perfect 
smoothness as printed in the Appendix (see Pro- 
grams and Services for Special Occasions, A). 

During the first years a story was told by some 
minister skilled in talking to children. This year 
the educational effort was carried out in greater 
detail, and the writer, who has been privileged — 
to direct this festival now for three years, with 
the aid of the organist, Mr. Everett Truette, 
explained in simple terms the construction of the 
great instrument of the church, the pipe organ. 
Each family of stops was compared to certain 
instrumental families of the modern symphony 
orchestra, and all the stops were drawn and 
sounded as the address proceeded. ‘The loudest 
and softest stops, the highest and the lowest, the 
possibilities of crescendo and decrescendo—all 
this was explained in simple terms and then 
illustrated by Mr. Truette on his great Cassavant 
instrument. The children were seemingly ab- 
sorbed with interest during the entire half hour 
given to this feature. The playing of the echo 
organ, the chimes, the Aolian harp, and other 
novelty stops gave added interest. 

In connection with this festival there was 


199 CHURCH MUSIC AND WORSHIP 


begun an effort which promised great results, but 
which, for lack of funds and other reasons, was 
dropped after one year. This was to have, at a 
central place, a weekly training course for the 
song leaders and choir directors of all the cooper- 
ating Sunday schools where the interests of the 
festival itself should be advanced, but where 
likewise progressive courses in Sunday-school 
and general church music and worship might be — 
taught. While admittedly not successful enough 
to insure permanent adoption in this instance, 
there is good reason to believe that this plan will 
some day furnish a real solution of the educa- 
tional problem in church musie and worship. 

2. Greater Boston Federation of Churches Coop- 
erate Efforts. These have been so numerous 
and so prevailingly successful during the last 
few years as to afford great encouragement for 
believing that such efforts may become more 
common. 

In the first place the Federation, under the 
leadership first of Dr. Doremus Scudder, then 
executive secretary, a great lover of church music, 
especially of congregational singing, decided to 
establish a department of music with a leader in 
charge. It was proposed to make this a salaried 
position and to put in charge of the leader not 
only the music of such public services as the 
Federation might choose to hold, but likewise a 
constructive plan, with ample budget to support 
it, for carrying out a work of choir organization 


COOPERATIVE CHORAL EFFORTS 191 


and congregational song development in as many 
of the cooperating churches as would take upon 
themselves a portion of the financial responsi- 
bility. The plan was worked out in detail and 
approved, but the money has not yet been forth- 
coming. However, after being called to take up 
this work the writer has gone forward with the 
Federation in its work and some accomplishments 
have been credited to the efforts made. The 
position of director of music has finally been 
created, which position the writer holds, without 
salary however, and as such is carrying out the 
work as best he can in time taken from his duties 
as a pastor in a near-by church. 

The responsibilities of this office are for the 
director to supervise the arrangement of all public 
services of worship, to arrange for such instru- 
mental and vocal leadership as is needed, and to 
personally direct the musical portions of the 
services, both choral and congregational. 

There is still possibility and hope that more 
constructive work may be inaugurated. A cen- 
tral training school for choir directors and congre- 
gational song leaders will be the first step. This 
may be secured by cooperation with a university 
music department or an established conservatory 
of music, but the instruction will definitely center 
about the development of a program of worship 
and music for the individual churches involved. 
Under the auspices of the Federation and the 
leadership of this training school combined choral 


192 CHURCH MUSIC AND WORSHIP 


services and great hymn festivals with adequate 
choral leadership and orchestral support would 
become regular features of Federated church 
work. 

Even now, to some considerable extent, this 
training work is carried on by itinerant lecturing 
and conducting on the part of the director. But 
difficulty in furnishing competent leaders, musi- 
cally capable and imbued with the spirit of reli- 
gious service and leadership, constitutes a great 
handicap. The development of choral training 
and instruction in the department of “The Fine 
Arts In Religion” at Boston University School 
of Religious Education, under the leadership of 
Professor H. Augustine Smith and the sympa- 
thetic administration of Dean Walter S. Athearn, 
through bringing talented students from various 
parts of the country, provides the best leadership 
available to-day. Perhaps definite correlation of 
Boston church activities with this successful and 
growing work may afford churches of the Feder- 
ation the service in training of leaders so much 
needed. But whatever course is pursued, the 
churches themselves must, in a positive manner, 
assert their desire and need for competent leader- 
ship in musie and worship and then go forth 
determinedly to secure it. 

This much of the plans, dreams, and hopes of 
the Greater Boston Federation of Churches as 
evolved by Doctor Scudder and the writer in 
collaboration, approved by leaders of the organ- 


COOPERATIVE CHORAL EFFORTS 193 


ization and by the present executive secretary 
(the Rev. George L. Paine), is here set forth with 
the hope that some other community or Federa- 
tion may take up the work and carry it on to 
greater success than has yet been achieved 
in Boston. The possibilities of development of 
great and inspiring services of music and worship, 
or promoting the interests of the program of music 
and worship in the individual churches cooper- 
ating, and, in general, of deepening the spiritual 
life and the fraternal bond among Christian people 
of various creeds, sects, and faiths are boundless. 

While not all the dreams and hopes of the 
Boston Federation have been realized, and some - 
of them may never be realized, nevertheless 
practical results of considerable magnitude have 
already been achieved. Among these the fol- 
lowing will serve as examples: 

(1) Lenten Services. For three years the Fed- 
eration has conducted series of noonday Lenten 
services, at first six weeks, last year (1923) five 
weeks. The first series was held in historic old 
King’s Chapel, the second in equally historic “Old 
South Meeting House,” and the last in a less 
historic but more practical place of meeting, 
Keith’s Theater. Representatives of Protestant, 
Catholic, and Jewish faiths have participated, 
and the very greatest spirit of fraternity and 
accord has prevailed. 

Each year definite congregational song leader- 
ship, with frequent congregational song rehearsal, 


194 CHURCH MUSIC AND WORSHIP 


has been utilized. Careful attention has been 
given to developing balanced services of worship 
in which Scripture, prayer, music, and sermon 
should have proportionate allotments of time. 
Last year (1923) marked the highest develop- 
ment yet attained, though already plans are under 
way to make improvements in the services for 
1924. Radio broadcasting featured these sery- 
ices. The total time for each service was forty 
minutes, divided into two twenty-minute periods, 
the first for the service of worship (including the 
offering), the second for the address. The very 
best musical organizations of the city were asked 
to participate, and the response was inspiring. 
Outstanding church choirs and quartets, profes- 
sional soloists, and players of instruments freely 
gave their services. One great department store 
sent its choral society, organized among its em- 
ployees, thoroughly trained and singing truly 
good music, while another department store sent 
its highly trained brass band. Congregational 
singing, responsive reading and prayer featured 
every service. The time schedule was never 
violated, even though severe limitations of time 
had to be imposed upon every visiting musician 
or organization that the service might be kept in 
fully balanced form. Audiences grew rapidly as 
the character of the services was noised abroad. 
The average daily attendance for the entire 
period (five weeks last season) was over seven 
hundred, for the last week nearly double that, 


COOPERATIVE CHORAL EFFORTS 195 


and on Good Friday, when the service was ex- 
tended to one hour, a portion of Dubois’ ‘‘Seven 
Last Words of Christ”’ rendered by a vested choir, 
and a great sermon preached by Dr. Frederick 
Shannon, of Chicago, the building was packed 
to standing room from the floor to the topmost 
gallery. : 

No more willing and eager cooperation on the 
part of the very best musicians of the city could 
have been desired than was obtained. Among 
the choirs and instrumental organizations were 
representatives of nearly every department of 
the Protestant Church, both white and Negro, 
and of both the Roman Catholic Church and the 
Jewish Synagogue. One high standard of music 
and worship was maintained throughout, and no 
musician or choral group failed to measure up to 
it. Applause was discountenanced, no bid was 
made for popular acclaim, no cheap novelty of 
any kind whatsoever was introduced. Every- 
thing that was done was done in decency and 
order, reverently, worshipfully, and the people 
of the city (including the newspapers, secular 
and religious) quickly manifested their approval. 

(2) Annual Memorial Field Day Service. This 
is an annual service held in the Fenway (Red Sox) 
Baseball Park under the joint auspices of the 
American Legion, Spanish War Veterans, and 
the Grand Army -of the Republic. Alternate 
years the Roman Catholic and the Protestant 
Churches are asked to be responsible for the 


196 CHURCH MUSIC AND WORSHIP 


service. It is a great affair, with thousands of 
uniformed men marching, a score or more of bands 
playing, and thirty to fifty thousand people in 
attendance. 

Twice has the Greater Boston Federation of 
Churches had charge of the service as representing 
the Protestant forces of the city. Each time a 
mammoth choir has been organized, the first 
time by obtaining the cooperation of various 
choral societies and organizations, the second 
time by appealing directly to the ministers of 
various churches to send recruits to form a great 
chorus. A band of fifty professional musicians 
has each time played accompaniments for choral 
and congregational singing, and a full printed 
program placed in the hands of every attendant 
upon the service. Each year amplifying instru- 
ments have been provided for the speaker, but 
owing to the great expense the music has not 
thus far been so favored. However, five hundred 
or more voices in a chorus choir, and a band of 
fifty pieces provides splendid leadership for 
singing of even so large a company. Each year 
anthems or special choruses have been prepared 
by having individual groups rehearse under their 
own directors, and then unite for a great final 
rehearsal at some central place. The rehearsing 
has not been quite satisfactory either year, but 
good results have been obtained nevertheless. 
The anthems used the first year were “Inflam- 
matus,’” from Rossini’s “Stabat Mater,’ and 


COOPERATIVE CHORAL EFFORTS 197 


“Hail, Thou Great Song of Peace,” by J. H. 
Densmore. The second year the anthems sung 
were “To Thee, O Country,” by Julian Eich- 
berg, and “Unfold, Ye Portals,” from Gounod’s 
“Redemption.” Mr. George Sawyer Dunham 
did the actual directing the first year, the director 
for the Federation organizing the chorus and 
arranging rehearsals. 

It is hoped that organization may be so effected 
that without undue expenditure of energy and 
time a choir of one thousand voices may be mus- 
tered in the name of the Federation for occasions 
great enough to justify it. Prospects seem very 
hopeful for this stage of progress to be shortly 
attained. 

(3) Union Thanksgwing Service. This year 
(1923) the Federation for the first time held a 
union Thanksgiving service. Representing the 
Christian forces of Boston, held in Symphony 
Hall, with a distinguished churchman (Bishop 
Charles Louis Slattery) as the preacher, it was 
desired that the service should be of the very 
finest type possible, and yet thoroughly cooper- 
ative. A very fine choir, composed largely of 
singers from one Protestant church and one 
Jewish synagogue, but recruited likewise from a 
half dozen or more other churches, was rehearsed 
in individual sections by regular directors. A 
thirty-minute rehearsal at Symphony Hall just 
prior to the service sufficed to bring the various 
groups into complete musical unity. The an- 


198 CHURCH MUSIC AND WORSHIP 


thems were “A Prayer of Thanksgiving,” by E. 
Kremser, and “Unto Thee, O Lord, Do We Give 
Thanks,” by Michael Watson. Representatives 
of Swedenborgian, African Methodist Episcopal, 
United Presbyterian, Congregational, Univer- 
salist, Unitarian, Baptist’ and Quaker Churches 
participated in the service, together with a Jewish 
rabbi and an Episcopal bishop. Mr. Henry 
Gideon, organist and choirmaster of Temple 
Israel, played the great symphony organ and a 
Methodist preacher directed choir and congre- 
gation in the musical part of the service. Only 
by unavoidable circumstances was a Negro mixed 
quartet prevented taking a special part in the 
service as they had been invited to do. The point 
that must be made in all of this, however, is that 
all these different sections of the .churehwere. 
united in one service of worship, not overlong, 
perfectly blended and_balanced, and in every 
way in keeping with the city and hall where the 
service was held. The congregation, entirely 
filling the main floor of Symphony Hall, entered 
into those portions of the service requiring par- 
ticipation of all the people so heartily and unani- 
mously that newspaper reporters noted the fact 
and stated that “it seemed that everybody sang.” 

3. Progresswe Efforts at Conventions, Conferences 
and Institutes. In no department of religious 
work and activity has there been a more notable 
upward trend in standards of music and worship 
than in such gatherings as are here referred to. 


COOPERATIVE CHORAL EFFORTS 199 


A few illustrations may help others still to find a 
better way. 

(1) The Ohio State Baptist Assembly. Under 
the leadership of its president, Mr. R. O. Carver, 
of Cleveland, this splendid educational institute 
three years ago inaugurated definite instruction 
in music and worship. A lecture course has been 
given each year for which full credit has been 
granted toward the certificates and diploma 
offered by the Assembly. Registration in this 
course has been more than satisfactory. 

Each year a chorus has been organized for the 
purpose of studying programs of good music and. 
charged with the responsibility of rendering a full 
evening program of service on one of the final 
evenings of the assembly. Since this meant that 
only one week of rehearsals could be conducted, 
it seemed at first impossible to carry out this 
part of the plan satisfactorily. But each year 
success has been achieved. At first only 
assistance rendered by singers from the town 
where the assembly is held (Granville, Ohio), 
under the leadership of Professor Karl Eschman, 
director of the conservatory of Dennison Uni- 
versity, made this success possible. But the 
choral work has progressed each year. At the 
last session (1923) the complete service “America 
The Beautiful’ (see Appendix) was rendered, 
with orchestral accompaniment, by a chorus 
entirely recruited from attendants of the Assem- 
bly, and rehearsed in five days’ time. 


200 CHURCH MUSIC AND WORSHIP 


‘The work at this assembly is now being devel- 
oped into a complete department, with courses 
in pageantry, religious drama, and Junior Choir 
Methods added, ample budget provided to engage 
such leadership as the director deems necessary, 
and adequate time given him in public services 
and gatherings to present and carry out a com- 
plete work in music and worship involving all the 
choral, instrumental, and congregational forces 
of the entire assembly. 

(2) The Asbury Grove Assembly. At this 
assembly, formerly an old-fashioned Methodist 
camp meeting, a religious educational program 
has been instituted. Five years ago (1918), under 
the leadership of Dr. W. H. Powell, district super- 
intendent, in charge of the Assembly, and Pro- 
fessor H. Augustine Smith, who that year directed 
the music and gave lectures on church music, and 
who also prepared and presented one of his own 
pageants, a new era of leadership and develop- 
ment in music and worship was inaugurated. 

The following year Professor Smith was in 
Japan at the World Sunday School Convention 
and the writer succeeded to the direction of the 
music, which position he has since held. A choir 
was organized that year which has since grown 
into the Asbury Grove Choral Society. This 
choir, being composed of singers representing 
both the laity and ministry of scores of churches, 
has more or less affected the music and worship 
of a considerable territory. At first a program 


COOPERATIVE CHORAL EFFORTS 201 


of a miscellaneous character was presented, but 
this has given place to definite oratorio services 
such as “The Life of Christ” (see Appendix) 
which serve to turn the evening given over to the 
choir into one of genuine worship and spiritual 
inspiration, and at the same time to acquaint a 
great host of people with great religious musical 
literature. 

Professional soloists, accompanists, and trum- 
peters are engaged, that the services may be put 
on the highest possible plane of musical worth 
and dignity. The attractiveness of this work to 
the public is evidenced by the fact that each year . 
the large tabernacle has been overflowed on a 
Saturday night by the congregation assembled 
to hear, and latterly to participate in the programs 
presented. | 

During the course of the week of meetings, 
instruction, and services, congregational singing 
is encouraged, brief rehearsals conducted, anthems 
of dignity and character presented, and ofttimes 
selections from oratorios and the better type of 
cantatas. In addition to the regular choral 
society a group of thirty or more singing ministers 
each year participates in one or two services, 
leading the congregational services and singing 
hymns as anthems. These are carefully chosen 
and sung by the sympathetic group involved, 
and never fail to make a very deep and abiding 
impression upon the congregation. 

(3) The Massachusetts State Sunday School 


202 CHURCH MUSIC AND WORSHIP 


Convention. Four years of persistent effort have 
resulted in the development of the music and 
worship of this convention to a very high stand- 
ard. Each year more and more time has been 
granted the director (the writer has been with 
this convention during this entire period) to 
develop the congregational singing and to pre- 
sent and lead services of worship of a congrega- 
tional character. ‘Two years ago (1922) the first 
effort to develop a choir was made but was only 
partially successful. The period during which 
the convention annually meets (three days) is too 
brief for a choir to be developed from its attend- 
ants. At the last session a new method was 
tried and proved entirely satisfactory. Long 
before the date for the convention to begin the 
director went to the entertaining city (North 
Adams, Mass.) and enlisted the aid of local 
ministers and musical directors. <A local chorus 
was organized in which practically every church 
soloist of the city besides the singers of the choir 
enlisted. The choruses from Handel’s “Messiah” 
embodied in the service “The Life of Christ’ 
(see Appendix) were put into rehearsal. 

The program of the convention was so arranged 
as to give the director an opportunity to present 
fully the cause of “Music and Worship in the 
Sunday School,” and likewise to develop the 
congregational singing. Delegates attending the 
convention who were familiar with the “Messiah” 
were permitted to enlist in the chorus. The 


COOPERATIVE CHORAL EFFORTS 203 


entire program of “The Life of Christ’? was 
printed in the regular convention program. On 
the final night the last hour and a half of the 
convention was given over to this service. 

The church (the Methodist) was filled with a 
great congregation, the choir of nearly one hun- 
dred was brilliant voiced and musically competent 
as a result both of the trained singers enlisted in 
it, and of the advance rehearsals, and the service 
as a whole has been pronounced by Sunday- 
school leaders in attendance “unforgettable.” 
But the appeal of the service was not so much 
that of entertainment nor yet of mere musical 
enjoyment. It was a service in which the congre- 
gation and choir, with accompanists and soloists, 
cooperated to seek a new spiritual experience. 
No one present seems to doubt that the experience 
sought was found. 

Entire sympathy of the leaders of the con- 
vention itself, and the cooperation of local min- 
isters and musicians made this service possible at 
North | Adams and would make the same service 
possible at any similar convention in any city of 
our land. 

(4) Lake Chautauqua Summer School. Pro- 
fessor H. Augustine Smith, whose name has been 
mentioned several times in this work, has unques- 
tionably been the leader of this generation along 
the lines of church music and worship. His work, 
however, has greater scope than that treated 
herein. He has developed the program and 


204 CHURCH MUSIC AND WORSHIP 


ideal of “The Fine Arts in Religion,” these 
arts comprising Congregational Singing, Choral 
Singing, Ritual and Worship, Pageantry, and 
Visualization (use of still and moving pictures). 
Under his aggressive leadership a complete de- 
partment of “The Fine Arts in Religion” has been 
established at the School of Religious Education 
of Boston University. 

This program and the work of this department 
serve as the basis for a very unusual type of lead- 
ership at such conventions and conferences as he 
can personally attend. At the World Sunday 
School Convention at Tokio, Japan, at the Inter- 
national Sunday School Convention at Kansas 
City, and at the International Christian Endeavor 
Convention at Des Moines, Iowa, Professor 
Smith has rendered memorable service in intro- 
ducing thousands upon thousands of people to 
the “Fine Arts in Religion.” 

Fortunately, he has been called to such a posi- 
tion of opportunity and leadership at Lake Chau- 
tauqua, New York, as he could find nowhere else. 
Here during the summer season when Chautauqua 
is open, and where scores of thousands of people 
from all over the country, if not from all over the 
world gather, he conducts a summer institute of 
“The Fine Arts of Religion.” Lectures and 
demonstrations are given daily. The history, 
theory, and practice of religious worship through 
the media of the fine arts is thoroughly developed. 
All the while in the great auditorium, seating 


COOPERATIVE CHORAL EFFORTS 205 


seven thousand people, with a choir loft for five 
hundred singers, and seating room for a complete 
symphony orchestra, great religious services, 
pageants, and religious spectacles are woven into 
the regular Chautauqua program. A regularly 
organized chorus of three to five hundred voices, 
professional soloists and accompanists, and a 
six-weeks’ engagement of a standard Symphony 
Orchestra makes such services on a grand scale 
possible and practical. In addition to these 
several standard oratorios and cantatas are ren- 
dered each season, and regular symphony concerts 
presented. 

Professor Smith has found some difficulty in ~ 
winning the older leaders and attendants to the 
ideal of programs and services in which the 
audiences do not merely take the part of listeners 
or onlookers, but actually participate, but the 
new standards and ideals are winning response 
and support. 

In addition to these services and concerts 
stereopticon and moving pictures are frequently 
correlated with services of music and ritual, and 
several pageants are presented each season with 
well-coached dramatic action, brilliant costuming 
and lighting, and correlated music. The_total 
emotional and spiritual effect and appeal_of. the 
combined choral, orchestral, and congregational 
forces, with pictures,. lights, and color_is_ better 
imagined than described. 

The department of “Fine Arts in Religion” at 


206 CHURCH MUSIC AND WORSHIP 


Chautauqua should be classed among the major 
educational efforts along this line in the entire 
country, if not in the world. One or two seasons 
here, taking the lecture courses and attending 
the services in the auditorium, would awaken 
and revolutionize the thinking of any minister or 
layman, religious educator or professional musi- 
clan concerning the use of the fine arts in relic 
gious work. 

(5) The International Christian Endeavor Con- 
vention at Des Moines. At this convention (July 
4-9, 1923) Professor Smith prepared and carried 
out a program of “Fine Arts in Religion” which 
stands as a great model and example to all con- 
ventions of its type. As at Lake Chautauqua 
the writer had the privilege of being associated 
with Professor Smith in the direction of the 
program and services. 

A great choir of five hundred voices, organized 
locally and rehearsed for many weeks before the 
opening of the convention, afforded choral leader- 
ship for services in the convention hall, The 
Coliseum. Definite periods each day, and periods 
from thirty minutes to one hour or more in length 
each evening were set aside for the program of 
“Fine Arts in Religion.” Not only were services 
of music and worship carried out, but pageants 
were presented (one pageant had five hundred in 
the cast and was supported by the full choir of 
five hundred voices) and visualization was car- 
ried out by correlating with congregational and 


COOPERATIVE CHORAL EFFORTS 207 


choral song beautiful slides of art masterpieces 
having religious subjects or themes. At every 
service or pageant the audience was not only 
great in numbers, taxing the seating capacity of 
The Coliseum, but earnest and ardent in attention 
and participation. 

Every day at the Plymouth Congregational 
Church a “Temple of Fine Arts in Religion’ was 
open. From ten o’clock in the morning until 
late in the evening a continuous program of 
lectures, demonstration services, conferences, 
stereopticon and moving-picture presentations, 
recitals of religious and secular music for organ, 
piano, voice, violin, and other instruments was 
carried on. In the Sunday-school auditorium 
and in the classrooms thousands of prints of art 
masterpieces were displayed, with expert guides 
to conduct the visiting throngs and to explain 
the pictures, artistically, historically, and particu- 
larly religiously. In three days’ time more than 
ten thousand people came to Plymouth Church, 
heard the lectures and recitals, participated in the 
services, and studied the pictures. In a con- 
siderable number of instances personally known 
to the writer the program of worship and music 
of churches whose pastors or leading laymen 
visited the Convention at Des Moines and came 
to Plymouth Church was entirely revolutionized 
or reborn. 

The great climax of the convention was a 
service held at the State Fair Grounds Sunday 


208 CHURCH MUSIC AND WORSHIP 


afternoon, July 8. William Jennings Bryan was 
the speaker. With fourteen thousand and more 
registered delegates as a nucleus for a great audi- 
ence or congregation, and with the drawing 
power of Mr. Bryan’s name as an influence, more 
than forty thousand people came together for 
this service. They filled the great covered grand- 
stand, the bleachers on either side, sat and stood 
on the ground between the grandstand and the 
race track, and even sat by hundreds, if not 
thousands, in automobiles parked in the center 
of the race track. 

The same amplifying instruments as were 
used by our lamented President Harding at his 
inauguration and at the Burial of the Unknown 
Soldier had been put in place and carefully tested. 
The speaker’s stand was a goodly distance from 
the grandstand, and, of course, a still greater 
distance from the people in the bleachers and in 
the center of the race track. But so effective 
were the amplifiers that every person present 
heard every word spoken or sung plainly and 
distinctly. The writer, privileged to direct the 
service, himself tested the instruments in the 
morning, and found that an ordinary conversa- 
tional tone would carry to every portion of the 
great field. 

At the beginning of the service in the afternoon 
a few words of careful instruction and explanation 
were spoken. The people were urged to realize 
their individual responsibility and their privilege 


COOPERATIVE CHORAL EFFORTS 209 


when asked to sing. They were especially ex- 
horted to watch the director and to sing exactly 
with his time beat. Had they listened for the 
playing of the band which provided accompani- 
ment, or for the singing of a choir, and then made 
an effort to follow the sound, hopeless confusion 
would have resulted, so great was the throng, 
and so slow is sound in its travel. But the 
people seemed in the spirit. They took part 
heartily and seemingly unanimously, and _ their 
unison seemed perfect. Even with the band 
blasting its tones into his ears at close range the 
director could hear the mighty tide of vocal 
sound rising sturdy and strong from every direc- 
tion. In hymns sung without accompaniment 
the effect was simply indescribable. It is no 
exaggeration to say it washeavenly. Inresponsive 
reading, prayer, and later in a salute to the Amer- 
ican flag as a patriotic touch was given the service 
the thousands spoke, sang, and acted as one. 


B. Future Posstsi.iti&s. 


A somewhat extended account of the Des 
Moines program has been given because it points 
the way to future development and advance. 

The people who attend such conventions, and 
who, in increasing numbers, are registering each 
year at the conferences and institutes held by 
religious organizations are awakening to a desire 
for inspiring services of music and worship in 
which they shall have a part, and for the influence 


210 CHURCH MUSIC AND WORSHIP 


of fine arts along the lines of religious instruction 
and inspiration to be brought into their lives. 
The knowledge and technique of the directors of 
such programs of music and worship, and of the 
fine arts in religion generally, is swiftly developing. 
The leaders and executives who have charge of 
the program building for such gatherings are 
more and more seeing the wisdom of granting to 
those whom they call to their aid as directors in 
this great and growing work definite periods of 
time, frequent enough to develop the capabilities 
of the convention or conference audiences, and 
long enough to make complete services possible. 
They are realizing that services of worship should 
have something like an equal consideration with 
the speakers who come to address the people. 
These executives are likewise increasingly real- 
izing the need and wisdom of setting aside sums 
of money sufficient to support the work to be done. 

Thus the quality of the programs and services 
at these conventions is rapidly rising. 

At the same time the perfecting of aniplitetee 
instruments makes it possible to assemble greater 
numbers of people many times over, and to reach 
them successfully both with spoken words and 
special music, and likewise with appeals and 
directions for personal participation in worship, 
song, and ritual, than ever before. 

The future possibilities of this type of religious 
leadership and endeavor can hardly be dreamed 
of to-day. 


CHAPTER XIII 


MISCELLANEOUS MATTERS OF 
FINAL CONSIDERATION 


A. ORCHESTRAS IN THE CHURCH 

If the church is to ultimately have symphonic 
orchestral support in its services, voluntaries, 
offertories, and postludes played by an orchestra, 
congregational singing supported by an orchestra, 
choral singing of anthems and of complete works 
accompanied by orchestra, two things must be | 
done. First, the church must raise and spend a 
good deal of money to engage the professional 
services of good musicians who are available, not 
having already been engaged by the theaters. 
Secondly, a program of orchestral instruction and 
development must be introduced into the church 
program of music and worship. 

To this end a thoroughly competent director, 
a violinist preferably, but not necessarily, must 
be engaged. He should be of at least as good 
musical ability, training, and experience as the 
average theater player. Under his direction the 
orchestra should be organized, Every member 
should be required to be unusually proficient, or 
to immediately begin private study on the instru- 
ment he or she is to play. Generally, the orches- 
tra players should pay for these lessons them- 


selves. They may be given under the auspices 
211 


212 CHURCH MUSIC AND WORSHIP 


of the church, by teachers recommended by the 
church. It is ideal that such instruction should 
be given on the premises of the church school. 
But again religious leaders must be cautioned 
that very often other considerations than musical 
proficiency seem to weigh most heavily in the 
choice of teachers. .No poorer teaching should 
be tolerated in the church than will win recog-. 
nition of first-class schools and conservatories of. 
music. 

Probably in the larger cities it is as well for the 
children or young people to study with the well- 
known and accredited professional teachers. The 
church can use its influence to lead parents and 
young people themselves to invest an amount of 
money in lessons that will make study with thor- 
oughly competent teachers possible. Poor 
teaching is too expensive at any price. And if 
poor teaching is to be tolerated at all, let it be 
when the pupil is quite advanced, not when he is 
beginning. A good foundation and beginning in 
musical study is absolutely necessary. And such 
a foundation and teaching cannot be obtained, 
except under unusual circumstances, without 
investing considerable money in instruction. 

The ensemble rehearsal of the orchestra should 
be conducted at the church, on a regular time 
schedule, which should not, however, interfere 
with the schedule of choir rehearsals. 

All musie should be purchased by the church 
school, the orchestra leader paid by the church 


MISCELLANEOUS MATTERS 213 


school, and such instruments as are not often 
owned by individual players—tympani, oboes, 
bassoons, bass viols, tubas, ete.—should be pur- 
chased by the school and loaned to the players. 

The orchestra should be used in the regular 
sessions of the church school, and occasionally 
in the public service of the church. After pro- 
ficiency has been attaimed the orchestra may 
serve regularly, especially in the evening service. 
It should always be used in a dignified manner, 
should never play music not suited to religious 
services, and the players should always appear 
in time to have their instruments tuned and to— 
be seated well before the time for the service to 
begin. 

A complete work needs to be written on the 
development and use of a church orchestra, but 
numerous works are now available dealing with 
the same endeavor in the public schools. The 
general problem is the same, though the reper- 
toire and field of service is quite different. 

One final word may be spoken here concerning 
the use of an orchestra in the church. No attempt 
should be made to use an orchestra in public until 
it can do perfect, or at least thoroughly accept- 
able playing in private rehearsal. Nothing will 
so certainly defeat the very end and aim of a 
congregational service of music and worship as an 
orchestra out of tune with itself, with imperfect 
ensemble, overstrong in some sections, especially 
the brass, and woefully weak in others, possibly 


214 CHURCH MUSIC AND WORSHIP 


so intent on notes and fingering as to be. alto-. 


gether unresponsive to the direction of the leader. 
It must be remembered that the congregational 
service has a very great and important religious 
purpose, and until the orchestra can further 
this purpose it should be restrained to private 
rehearsals. This applies to the church-school 
session as well as the church service. In the con- 
gregational song rehearsal the leader should feel 
free to include the orchestra with the choir and 
congregation in his instructions and exhortations. 

If this seem a bit stringent, let thought be 
carried forward to the possibility of religious 
inspiration and uplift from the service where 
the conditions here presented are fulfilled. The 
great purpose and end to be attained should 
justify and give inspiration to the orchestral 
players, as to the choral singers, in going to great 
pains, and in persistently and consistently striving 
for perfection. 

The orchestra is needed, greatly needed. It 
will be a great instrument of religious instruction 
and inspiration when properly developed, trained 
and used. But great emphasis must be put upon 
that word “properly.” It provides the open 
sesame to musical and worshipful joy and hap- 
piness. 


B. Brass Banps In THE CHURCH 


In many churches, especially the larger ones, 
the brass band may be developed with success. 


= 


MISCELLANEOUS MATTERS Q15 


It has the value of interesting many boys, and 
girls too, in instrumental music who would other- 
wise go no further than the choral program would 
take them. At the same time the field of band 
music is not quite so difficult as that of orchestral 
“music. The instruments are, for the most part, 
easier to learn to play, and the music usually 
does not present quite the degree of difficulty as 
in case of the orchestra. 

The band has a natural appeal to boys espe- 
cially, and will draw and hold them when no 
other musical organization could. 

At the same time the field for use of a pial in 
the church is limited. Only on occasions when 
very large congregations are assembled, and in a 
very large room, can a band be successfully used 
in accompanying singing. Instrumental music 
for bands does not usually fit in a service of wor- 
ship, and it is very difficult to handle a band of 
any size with any degree of dignity and reverence. 

However, the writer has used bands in both 
indoor and outdoor services, and successfully. 
Cultivated for its own attractiveness to young 
life, and for the enrichment and happiness it 
puts into these lives, it is quite worth the time, 
effort and expense required, provided it does not 
conflict with the more important choral or orches- 
tral work. Ofttimes the band provides the 
foundation for later orchestral development. 
Band music of suitable character, played outside 
the church before a service, has been successfully 


216 CHURCH MUSIC AND WORSHIP 


utilized by the writer as a kind of outdoor pre- 
lude to the indoor service. On festival occasions, 
at social functions, and in outdoor parades or 
processionals, especially at picnics, the church 
band is most attractive and useful. 

It should be organized, directed, taught, and 
equipped much in the same manner as the or- 
chestra. Practically all but the solo instruments 
(cornets, clarinets, trombones, ete.) should be 
purchased and owned by the church. Uniforms 
should likewise be provided by the church. 


C. VESTMENTS 


By all means let church choirs be vested. 
There are many reasons in favor of this and no 
good ones against it. Impressiveness in the 
public service, uniformity of dress, consciousness 
of a special religious mission on the part of the 
singers, attention to music and texts rather than 
to individuals on the part of the congregation— 
all this is secured by vesting the choirs. 

In nonliturgical churches much variety is found 
in the type of vestments used. In liturgical 
churches the type is prescribed. 

The writer has had experience with many 
kinds and greatly favors the academic gown with 
a white stole. This vestment, well made, of good 
material, is strikingly beautiful when seen in the 
choir loft, and is easily kept clean. The more of 
white enters into the vestments the more difficult 
will it be to keep them clean, 


MISCELLANEOUS MATTERS Q17 


Of course there are many other types which 
recommend themselves to various leaders and 
individual taste of congregations and committees 
must be allowed considerable play. 

The Junior and Intermediate Choirs should 
be vested, of course, as well as the Senior Choir, 
and a uniform type of vestment throughout seems 
to the writer most effective and desirable. When 
all the choirs are massed together the effect pro- 
duced by uniform vestments, on children, young 
people, and adults, is most pleasing. 

Several extra vestments should always be pro- 
vided so that visiting soloists or instrumental 
players may be vested on occasion. ; 


D. Tue Cuorrk Room 

No modern church should be builded without 
a choir room. Preferably this room should be 
adjacent to the choir loft of the church, or so 
related to it that the choir may pass directly from 
the room to the loft without coming in sight of 
the congregation. . 

This room should be large enough for use as a 
rehearsal and social room, provided with a first- 
grade grand piano, and a good reed organ in tune 
with the piano, and comfortably supplied with 
chairs and lounges. 

A large closet or closets should afford room for 
keeping all the vestments in good order, and a 
music cabinet in which all music, both octavo and 
complete works, can be filed and indexed should 


218 CHURCH MUSIC AND WORSHIP 


be builded or placed somewhere near the direc- . 
tor’s stand. 

Care should be taken to provide the room with 
heat_that may be utilized on short notice. A 
fireplace with a large gas heater serves the purpose 
admirably. By this means the choir may be 
assembled for special rehearsals, or the director 
may rehearse with soloists, or impromptu socials 
may be arranged for without depending upon the 
main heating plant of the building. If the church 
undertakes to provide private instruction for its 
singers, this room affords an ideal place for this 
purpose. 

The choir room should be made as comfortable 
and pleasant as possible, rugs on the floor and 
pictures on the wall provided, and adequate 
lighting arranged for. It becomes the home of 
the musical program of the church and, as far as 
practicable, should be reserved for this use. 


E. InstRuMENTAL EQUIPMENT 


In the auditorium a good pipe organ is, of 
course, the ideal instrument. A first-grade grand 
piano should likewise be provided and tuned with 
the organ. ‘This piano should be used quite regu- 
larly with the organ in accompanying congre- 
gational singing, as a certain rhythmic effect in 
the singing is thus more easily secured. Pleasing 
and even inspiring effects can also be obtained 
by wise and skillful use of combined organ and 
plano accompaniment for anthems, cantatas and 


MISCELLANEOUS MATTERS 219 


oratorios, and in many cases solo accompaniments 
are written or may be arranged for such accom- 
paniment. A limited repertoire of instrumental 
music written or arranged for organ and piano is 
available, and this will afford an opportunity to 
vary the special instrumental music of the church 
with splendid effect. 

The choir room, as has been indicated, should 
be provided with a good piano and a good reed 
organ (or, if possible, a small pipe organ), that 
both accompanists may be used in the rehearsals. 
The organ likewise assists in starting a choir 
processional at the beginning of services, though 
a special organ, played from the console in the_ 
church auditorium should be provided for this 
use where possible. 

All pianos and organs in the church should be 
kept in good tune, and at symphony pitch. This 
makes possible the use of orchestral instruments 
without inconvenience and dissatisfaction. 

A good phonograph, with an adequate supply 
of records ofsacred.music, choral and instru- 
mental, solo and ensemble, is of great value to 
the director dealing with the younger choirs 
especially, and is a means of considerable social 
pleasure and recreation. - 

The acoustical properties and ventilation of 
a choir room must, of imperative necessity, be 
earefully planned for. Nothing will more handi- 
cap choral work than a small room where the 
singers must be crowded together, where the 


220 CHURCH MUSIC AND WORSHIP 


volume of tone returns upon itself in all forte 
passages, and where an abundant supply of fresh 
air 1s lacking. 


F. Tue Cuorms as Freyp ror EVANGELISM 

The program of music and worship which has 
been presented is a progressive, educational 
program of cultural, social, and spiritual devel- 
opment, carried on by the church, within its 
parish, for the uplift of its people. 

It is altogether fittmg and proper, and, indeed, 
highly desirable, that the membership of the 
various choirs should be considered a definite 
field for evangelistic effort on the part of the 
pastor and the leaders of the church. The ideal 
thing is for every member of every choir to become 
an active member of the church. 

In the writer’s own work and experience this 
ideal has been closely approximated. A very 
considerable accession to church membership 
has come directly through his choirs. Every 
member of every choir (even the Junior and 
Intermediate) participates in the service of 
Holy Communion. ‘The pastor-director has good 
reason to feel that the members of his choir, which- 
ever one happens to be singing, sit behind him 
in the church service personally striving through 
artistic endeavor, spiritual devotion and earnest 
prayer to help him put forward the kingdom of 
Jesus Christ. 


A consistent, progressive, fully developed and 


ae 6 


MISCELLANEOUS MATTERS ~~ 221 


competently directed program of music and 
worship in the church requires much faith, infi- 
nite patience, considerable expenditure of money, 
effort and nervous energy. But the reward is 
commensurately great. When the work is done, 
the program established and steadily functioning, 
those who have charge will find that lives are 
being enriched, men and women attracted to the 
church and its services, and then led into that 
spiritual consciousness and experience which marks 
the true Christian. 







i 
hae WY! 














APPENDIX 


I. CONGREGATIONAL SERVICES OF MUSIC 
AND WORSHIP WITH CHORAL LEADER- 
SHIP. 


Il. CHORAL SERVICES OF MUSIC AND WOR- 
SHIP WITH CONGREGATIONAL PAR- 
TICIPATION. 


Ill. PROGRAMS AND SERVICES FOR FESTI- 
VALS AND SPECIAL OCCASIONS. 


IV. BIBLIOGRAPHY. 


ACKNOWLEDGMENT. The hymns used in the serv- 
ices in this Appendix have been selected from the fol- 
lowing hymnals: The Methodist Hymnal (The Method- 
ist Book Concern), The Hymnal For American Youth 
(The Century Co.) and The American Hymnal (The 
Century Co.). 


if i trey, , 
eeF Ly 
nar ed 


ao alas 





I 


CONGREGATIONAL SERVICES OF MUSIC 
AND WORSHIP WITH CHORAL 
LEADERSHIP 


A. A CONGREGATIONAL SONG REHEARSAL. 
B. A GENERAL Hymnic SERVICE OF WorRSHIP. 
C. LovE. 


D. Tue Lire or Curist. 
(Copyright, 1923, by Earl Enyeart Harper.) 





FOREWORD 


Tue following are hymn services, strictly. Anthem 
and solo settings, arrangements and divisions for 
individual, responsive and unison readings are indi- 
cated, but with only one or two exceptions all the 
material is hymnic. 

In the use of these services careful preparation 
must be made. Leader, organist, choir, and soloists 
especially must know just what is expected of them 
through careful study and rehearsal. With the excep- 
tion of the first, the services should be carried out © 
without announcements or comments. To a very 
great degree the effectiveness of the services depends 
upon this. 

The pastor is the logical person to lead the services, 
for they are essentially services of worship, prayer, 
praise, exhortation, and dedication. Even the first 
service, the Congregational Song Rehearsal, is a prep- 
aration for worship and should be earnestly and 
seriously regarded as such. 

The organist should carefully prepare himself to 
musically and smoothly modulate from one tune to 
another, and to sound the opening chords or play the 
opening prelude whenever choir, soloist, or congrega- 
tion is to sing. It is a good plan to make a complete 
preparation of the service, with all hymns, solos, 
anthems, and reading arranged in convenient form, 
and with modulations written out. For the most 
part these latter should be brief, as also the introduc- 
tions. Much of the effectiveness of the services de- 

227 


228 CHURCH MUSIC AND WORSHIP 


pends upon the smoothness, taste, and musical effec- 
tiveness of the organ playing, and upon the mood 
and spirit of the leader. 

The intent and purpose of the series is, first, to 
train a congregation to realize its full possibilities as 
a singing body; second, to provide a means for all 
the numerous individuals of a congregation to fittingly 
worship together; and, third, to present a number 
of great or useful hymns in such form and context 
as to emphasize their real meaning and significance. 

THe AUTHOR. 


A 
A CONGREGATIONAL SONG REHEARSAL 


INTRODUCTION 


THE congregation, as any other singing body, must 
rehearse in order that it may sing unitedly, power- 
fully, intelligently, musically, and worshipfully. 

Rehearsing cannot be effectively incorporated in a 
service of worship. Such rehearsal will be inadequate 
and the service of worship will be seriously marred. 
A special rehearsal period should be set aside. 


1. UNITED (AND UNANIMOUS) SINGING 

Everyone has the privilege of singing, or, if unable 
to sing (not often the case), of mentally and spiritually 
entering into the service of song. 

Everyone has the responsibility to sing. In song 
are congregational praise, prayer, and exhortation. No 
one has a Christian right to listen to congregational 
singing. Each member of the congregation has, from 
a Christian point of view, the same responsibility for 
entering as effectively as possible into the song service 
as a minister has to present his message as effectively 
as possible. God alone should be the listener when 
congregational singing is in progress. 

Let us all sing: 


Come, thou almighty King, 
Help us thy name to sing, 
Help us to praise! 
229 


230 APPENDIX 


Father all glorious, 

O’er all victorious, 

Come, and reign over us, 
Ancient of days! 


2. POWERFUL SINGING 


Only by entering physically into the song service 
can the fullest possible richness, depth, solidity, and 
volume of tone be produced. 

Every member of the congregation should sit or 
stand erect and make a positive physical effort to 
sing with the best quality and quantity of tone pos- 
sible. 

This is not too technical. Nothing is perfect enough 
for the worship of God. 

Let us sing, with individual, physical effort, giving 
our bodies to the worship of God. 


“Come, thou almighty King,” ete. 


3. INTELLIGENT SINGING 


Our hymns are literary expressions of praise, prayer, 
exhortation, and worship, penned by men of great 
minds and reverent hearts. Ofttimes we do not think 
our hymns as we sing. We ought to appropriate the 
hymns and use them as far as possible as expressions 
of our own worship, our own desire and purpose that 
men everywhere shall be won to Christ and the king- 
dom of God brought into being here on earth. 

So we should think, and should phrase, especially 
noting the punctuation of our hymns. 

Let us sing again, thinking, phrasing, punctuating: 


Come, (—) Thou Almighty King 


APPENDIX 231 


As another and better example let us all sing, with 
definite and positive effort, but with careful thought: 


Abide with me! (—) Fast falls the eventide, (—) 
The darkness deepens (—) Lord, with me abide! 





(VERY CAREFULLY.) 


When other helpers fail, (—) and comforts flee, (—) 
Help of the helpless, (—) O abide with me! 


And let us sing the last two lines of the last stanza 
of this same hymn, unitedly, powerfully, thoughtfully: 


Heaven’s morning breaks, (—) and earth’s vain shad- 
ows flee; 


In life, (—) in death, (—) O Lord, (—) abide with me! 


4, MusicaL SINGING 


Congregational singing depends for its musical 
effectiveness on at least two things: (a) distinct sing- 
ing of each successive chord, separating one from 
another and (6) emphatic accent, that the proper and 
desirable rhythm and swing may be produced, giving 
life, vitality, and progress to the hymn. 


(a) Distinct singing of each chord: 


Every measure of music for congregational singing 
consists of a certain number of successive chords. 
These should not overlap nor lean upon one another. 
If the four fingers of the hand be held up together, 
we have an illustration of a common fault in congre- 
gational singing, running of the chords together. If, 
now, the fingers be separated, we have an illustration 
of what congregational singing should be like—every 
chord distinct. 


232 APPENDIX 


Let us sing: 

Come, — thou — al — might — y — King, 

Help — us — thy — name — to — sing, 
Help — us — to — praise! 

Fa — ther — all — glo — ri — ous, 

O’er — all — vic — to — ri — ous, 

Come, — and — reign — o — ver — us, 
An — cient — of — days! 


(b) Now, to realize the rhythmic progress of the 
music let us sing again Just as before, but accenting the 
first beat of each measure: 

(This is 34 time) 


Come, — thou — al — might — y — King, 

Help — us — thy — name — to — sing, 
Help — us — to — praise! 

Fa — ther — all — glo — ri — ous, 

O’ er — all — vic — to — ri — ous, 

Come, — and — reign — o — ver — us, 
An — cient — of — days! 


Come, thou Incarnate Word, 
Gird on thy mighty sword, 
Our prayers attend; 
Come, and thy people bless, 
And give thy word success: 
Spirit of holiness, 
On us descend! 


Come, Holy Comforter, 
Thy sacred witness bear, 
In this glad hour! 


APPENDIX 233 


Thou who almighty art, 

Now rule in every heart, 

And ne’er from us depart, 
Spirit of power! 


To the great One and Three 
Eternal praises be, 
Hence, evermore: 
His sovereign majesty 
May we in glory see, 
And to eternity 
Love and adore! 


—Charles Wesley. 


5. WorRSHIPFUL SINGING 


Singing in religious services is an act of worship, 
a means of congregational expressions to one another, 
to the world, and to God. It always involves praise, 
prayer, or exhortation, or all three. 

Worshipful singing must be the best singing we can 
possibly produce, consciously devoted to religious ends. 
We must sing unitedly, powerfully, with thought for 
the meaning of the text, and musically; but, more 
than that, we must sing consciously as Christians 
addressing God, or cooperating with God in his great 
kingdom-building enterprise. 

Let us sing together, unitedly, powerfully, intel- 
ligently, musically, and worshipfully: 


(Tune, “Miles Lane’’) 


All — nat — the — power — of — sE — sus’ name! 
Let — an — gels — pros — trate — FALL; 
Bring — rortH — the — roy — al — p1 — a — dem. 


(Climactic) And—CROWN—HIM,—CROWN HIM, 


234 APPENDIX 


— CROWN HIM — CROWN — HIM — LORD — OF 
— ALL. 
Let every kindred, every tribe 
On this terrestrial ball, 
To him all majesty ascribe, 
And crown him Lord of all. 


O that, with yonder sacred throng, 
We at his feet may fall! 
We'll join the everlasting song, 
And crown him Lord of all. 
—Edward Perronet. 


B 
A GENERAL HYMNIC SERVICE OF WORSHIP 


ORGAN OR ORCHESTRAL PRELUDE. 


Hymnic Catt To Worsuip (congregation standing): 
Pastor or Leader (Speaking): 


Come, ye that love the Lord, 
And let your joys be known; 
Join in a song with sweet accord, 
While ye surround his throne. —Isaac Watts. 


Congregation (singing, Tune, “Italian Hymn,” Key 

of G Major): 

Come, thou almighty King, 

Help us thy name to sing, 
Help us to praise! 

Father all-glorious, 

O’er all victorious, 

Come, and reign over us, 
Ancient of days! —Charles Wesley. 


Pastor or Leader (speaking): 


Let those refuse to sing 
Who never knew our God, 

But servants of the heavenly King 
May speak their joys abroad. 


Congregation (singing, Tune, “Azmon,” Key of G 
Major): 
O, for a thousand tongues to sing 
My great Redeemer’s praise, 
The glories of my God and King, 


The triumphs of his grace. —Charles Wesley. 
235 


236 APPENDIX 


Pastor or Leader (speaking) : 
Then let our songs abound, 
And every tear be dry; 
We’re marching through Immanuel’s ground 
To fairer worlds on high. 


Congregation (singing, Tune, “Lyons,” Key of G 
Major): 
O worship the King, all glorious above, 
O gratefully sing his power and _his love; 
Our Shield and Defender, the Ancient of days, 
Pavilioned in splendor, and girded with praise. 


O tell of his might, O sing of his grace, 

Whose robe is the light, whose canopy space; 

His chariots of wrath the deep thunderclouds form, 
And dark is his path on the wings of the storm. 


Frail children of dust, and feeble as frail, 
In thee do we trust, nor find thee to fail; 
Thy mercies how tender! how firm to the end! 
Our Maker, Defender, Redeemer, and Friend. 
—Robert Grant. 
(Congregation seated) 


EVENTIDE WORSHIP 
(1) Hymn (Tune, “Evening Praise,” Key of Ab 

Major): 
(Sing the first stanza and refrain only) 

Day is dying in the west; 

Heaven is touching earth with rest: 

Wait and worship while the night 

Sets her evening lamps alight 

Through all the sky. 


APPENDIX 237 


Refrain 


Holy, holy, holy, Lord God of hosts! 
Heaven and earth are full of thee! 
Heaven and earth are praising thee, 


O Lord most high! 


Lord of life, beneath the dome 

Of the universe, thy home, 

Gather us who seek thy face 

To the fold of thy embrace, 
For thou art nigh. 


Refrain 
Holy, holy, holy, ete. —Mary A. Lathbury. 


CSE Taper ATH Cena oh ne erent lalels p< ert) =» Turner 


Sun of my soul, thou Saviour dear, 
It is not night if thou be near: 

O may no earthborn cloud arise 

To hide thee from thy servant’s eyes. 


When the soft dews of kindly sleep 

. My weary eyelids gently steep, 
Be my last thought, how sweet to rest 
Forever on my Saviour’s breast. 


Abide with me from morn till eve, 
For without thee I cannot live; 
Abide with me when night is nigh, 
For without thee I dare not die. 


If some poor wandering child of thine 
Have spurned, to-day, the voice divine, 
Now, Lord, the gracious work begin; 
Let him no more lie down in sin. 


1] used congregationally, tune, ‘‘Hursley.” 


238 APPENDIX 


Watch by the sick; enrich the poor 
With blessings from thy boundless store; 
Be every mourner’s sleep to-night, 

Like infant’s slumbers, pure and light. 


Come near and bless us when we wake, 
Ere through the world our way we take; 
Till, in the ocean of thy love, 


We lose ourselves in heaven above. 
—John Keble. 


ScripturE Hymn? (Tune, “Stephanos,” to be played 
through before the first scripture reference is read. 
The pastor or leader reads each reference, the organ 
chord is given, the congregation sings the question 
in the first two lines of each stanza, and the choir 
completes the stanza, singing the metricized form 
of the scripture reference just read. So with each 
successive stanza.) 


(Congregation standing) 


Organ rendition of the hymn tune. 
Pastor or Leader reads Matt. 11: 28, 29. 
Congregation sings: 
Art thou weary, art thou languid, 
Art thou sore distressed? 


Choir: “Come to me,” saith One, “and, 
coming, 
Be at rest.” 


Pastor or Leader: John 20: 24-28. 


Congregation: Hath he marks to lead me to him, 
If he be my guide? 





2If used simply as a congregational hymn, disregard all the interpolations 
and sing straight through. 


APPENDIX 239 


Choir: “In his feet and hands are wound- 
prints, 


And his side.” 
Pastor or Leader: Matt. 27: 27-31. 


Congregation: Is there diadem, as monarch, 
That his brow adorns? 


Choir: “Yea, a crown, in very surety, 
But of thorns.” 


Pastor or Leader: Luke 9: 57-62. 


Congregation: If I find him, if I follow, 
What his guerdon here? 


Choir: “Many a sorrow, many a labor, 
Many a tear.” 


Pastor or Leader: John 6: 37. 


Congregation: If I ask him to receive me, 
. Will he say me nay? 
Choir: “Not till earth and not till heaven 


Pass away.” 
Pastor or Leader: Rev. 7: 13-17. 


Congregation: _ Finding, following, keeping, strug- 


gling, 
Ts he sure to bless? 


Choir: “Saints, apostles, prophets, martyrs, 
Answer, Yes.” 


—Greek Hymn, tr. John Mason Neale. 
(Congregation be seated) 


240 APPENDIX 


PRAYER GH ymin Solow we cs ce ee ee Inddle 


Abide with me! Fast falls the eventide, 
The darkness deepens—Lord, with me abide! 
When other helpers fail, and comforts flee, 
Help of the helpless, O abide with me! 


Swift to its close ebbs out life’s little day; 
Karth’s joys grow dim, its glories pass away; 
Change and decay in all around I see; 

O Thou, who changest not, abide with me! 


I need thy presence every passing hour; 

What but thy grace can foil the tempter’s power? 
Who, like thyself, my guide and stay can be? 
Through cloud and sunshine, Lord, abide with me! 


I fear no foe, with thee at hand to bless; 

Ills have no weight, and tears no bitterness; 

Where is death’s sting? Where, grave, thy victory? 
I triumph still, if thou abide with me. 


Hold thou thy cross before my closing eyes; 
Shine through the gloom and point me to the skies; 
Heaven’s morning breaks, and earth’s vain shadows 
flee; 
In life, in death, O Lord, abide with me. 
—Henry F. Lyte. 
ExnHortation: (1) Hymn? To be spoken by the Pastor, 
or Leader: 
The Son of God goes forth to war, 
A kingly crown to gain: 
His blood-red banner streams afar; 
Who follows in his train? 


11f sung congregationally, tune, “Eventide.” 2 If sung, tune, ‘‘Cutler.” 


APPENDIX 241 


Who best can drink his cup of woe, 
Triumphant over pain, 

Who patient bears his cross below, 
He follows in his train. 


The martyr first, whose eagle eye 
Could pierce beyond the grave, 
Who saw his Master in the sky, 
And called on him to save: 
Like him, with pardon on his tongue, 
In midst of mortal pain, 
He prayed for them that did the wrong: 
WHO FOLLOWS IN HIS TRAIN? 
—Reginald Heber. 


(2) Hymn (Tune, “Webb,” Key Bd): 
(Congregation stand) 


Stand up, stand up for Jesus! 

Ye soldiers of the cross: 
* Lift high his royal banner, 

It must not suffer loss: 

From victory unto victory 
His army shall he lead, 

Till every foe is vanquished 
And Christ is Lord indeed. 


Stand up, stand up for Jesus! 
The trumpet call obey; 

Forth to the mighty conflict, 
In this his glorious day: 

Ye that are men, now serve him, 
Against unnumbered foes; 

Your courage rise with danger, 
And strength to strength oppose. 


Q42 APPENDIX 


Stand up, stand up for Jesus! 
The strife will not be long; 
This day the noise of battle, 
The next the victor’s song: 
To him that overcometh, 
A crown of life shall be; 
He with the King of glory, 
Shall reign eternally. 
—George Duffield, Jr. 
(Remain standing) 


CONGREGATIONAL PLEDGE OF ALLEGIANCE AND Loy- 
ALTY TO CHRIST: 


Hymn (Tune, ‘“Lancashire’’): 


Lead on, O King Eternal, 
The day of march has come; 
Henceforth in fields of conquest 
Thy tents shall be our home. 
Through days of preparation 
Thy grace has made us strong, 
And now, O King Eternal, 
We lift our battle song. 


Lead on, O King Eternal, 
We follow, not with fears; 
For gladness breaks like morning 
Where’er thy face appears; 
Thy cross is lifted o’er us; 
We journey in its light: 
The crown awaits the conquest; 
Lead on, O God of might. 
—Ernest W. Shurtleff. 
(Congregation be seated) 


APPENDIX 243 


CLOSING PRAYER: 


Hymn (Tune, “I Need Thee Every Hour”): 
I need thee every hour, 
Most gracious Lord; 
No tender voice like thine 
Can peace afford. 


Refrain 


I need thee, oh, I need thee; 
Every hour I need thee; 

Oh bless me now, my Saviour, 
I come to thee! 


I need thee every hour; 
Teach me thy will; 

And thy rich promises 
In me fulfill. 


Refrain 


I need thee, oh, etc. AMEN. 
—Annie S. Hawks. 


C 
LOVE 


ORGAN OR ORCHESTRAL PRELUDE............ Selected 
Responsive Reapine (Congregation standing): 


Leader: Beloved, let us love one another: for 
love is of God. 


Congregation: And every one that loveth is born of 
God, and knoweth God. 


Leader: He that loveth not knoweth not God; 
for God is love. 


Congregation: If we love one another God dwelleth 
in us, and his love is perfected in us. 


Leader: God is love; and he that dwelleth in 
love dwelleth in God, and God in 
him. 


Congregation: A new commandment write I unto you: 


Leader: He that loveth not his brother whom 
he hath seen, how can he love God 
whom he hath not seen? 


All: AND THIS COMMANDMENT HAVE wR 
FROM HIM, THAT HE WHO LOVETH 
GOD LOVETH HIS BROTHER ALSO. 


(Congregation remain standing) 
244 


APPENDIX 245 


1. Gop 1s Lovr 
(1) Hymwn (Tune, “St. Catherine,” Key of A Major): 

Come, O thou Traveler unknown, 

Whom still I hold, but cannot see; 
My company before is gone, 

And I am left alone with thee: 
With thee all night I mean to stay, 
And wrestle till the break of day. 


Wilt thou not yet to me reveal 
Thy new, unutterable name? 
Tell me, I still beseech thee, tell; 
To know it now resolved I am: 
Wrestling, I will not let thee go, 
Till I thy name, thy nature know. 


Yield to me now, for I am weak, 
But confident in self-despair; 
Speak to my heart, in blessing speak, 
Be conquered by my instant prayer: 
Speak, or thou never hence shall move, 
And tell me if thy name is Love. 


Tis Love! ’tis Love! thou diedst for me! 

I hear thy whisper in my heart; 
The morning breaks, the shadows flee; 

Pure, universal love thou art: 
To me, to all, thy mercies move; 
Thy nature and thy name is Love. 

—Charles Wesley. 
(Congregation be seated) 


246 APPENDIX 


(2) Cuorr Hymn (Tune,! “Vox Delecti,’’ G Minor-G 
Major, two stanzas to each time through of 
the music): 

Immortal Love, forever full, 
Forever flowing free, 

Forever shared, forever whole, 
A never-ebbing sea! 


We may not climb the heavenly steeps 
To bring the Lord Christ down; 

In vain we search the lowest deeps, 
For him no depths can drown. 


But warm, sweet, tender, even yet 
A present help is he; 

And faith has still its Olivet, 
And love its Galilee. 


O Lord, and Master of us all, 
Whate’er our name or sign, 
We own thy sway, we hear thy call, 


We test our lives by thine. 
—John Greenleaf Whittier. 


(3) CaLL TO PRAYER BY THE Pastor oR LEADER: 

Beloved, we have heard that God is Love. Let us 
pray that we, his children, made in his image and 
likeness, may be possessed of the spirit of his divine 
love, that our hearts and minds may be filled with his 
praise: 
(4) Prayer Hymn, to be read? by all, seated: 

O for a heart to praise my God, 
A heart from sin set free, 


1 Tune for congregational singing, ‘‘Serenity.”’ 
This hymn may be sung to the tune ‘‘Holy Cross,’”’ 


(1) 


APPENDIX Q47 


A heart that always feels thy blood 
So freely spilt for me! 


A heart resigned, submissive, meek, 
My great Redeemer’s throne; 

Where only Christ is heard to speak, 
Where Jesus reigns alone; 


A humble, lowly, contrite heart, 
Believing, true and clean, 

Which neither life nor death can part 
From him that dwells within; 


A heart in every thought renewed, 
And full of love divine; 

Perfect, and right, and pure, and good, 
A copy, Lord, of thine! 


Thy nature, gracious Lord, impart; 
Come quickly from above, 
Write thy new name upon my heart, 
Thy new, best name of Love. AmEN. 
—Charles Wesley. 


2. Gop’s Love REVEALED IN Curist JESUS 
AWAKENS Our Love ror CHRIST 
IN RESPONSE 


Hymn (Tune, “Love Divine,” Key of Bd): 
(Congregation standing) 


One there is, above all others, 
Well deserves the name of Friend; 
His is love beyond a brother’s, 
Costly, free, and knows no end. 


248 APPENDIX 


Which of all our friends, to save us, 
Could or would have shed his blood? 

But the Saviour died to have us 
Reconciled in him to God. 


When he lived on earth abaseéd, 
Friend of sinners was his name; 
Now, above all glory raiséd, 
He rejoices in the same. 
O for grace our hearts to soften! 
Teach us, Lord, at length to love; 
We, alas! forget too often 
What a Friend we have above. 


—John Newton. 


(Congregation be seated) 


(2) Orcan THEME: “What a Friend We Have in Jesus!” 


(Let everyone silently meditate upon this) 


(3) Hymn (Tune, “Serenity,” Key of EO.): 


O Thou who driest the mourner’s tear, 
How dark this world would be, 

If, when deceived and wounded here, 
We could not fly to thee! 


When joy no longer soothes or cheers, 
And e’en the hope that threw 

A moment’s sparkle o’er our tears, 
Is dimmed and vanished too— 


O who could bear life’s stormy doom, 
Did not thy wing of love 

Come brightly wafting through the gloom 
Our peace-branch from above? 


(4) 


APPENDIX 249 


Then sorrow, touched by thee, grows bright, 
With more than rapture’s ray; 

As darkness shows us worlds of light 
We never saw by day. —Thomas Moore. 


ANTHEM:! “Jesus Calls Us’?............. Bullard 


Jesus calls us, o’er the tumult 
Of our life’s wild, restless sea; 

Day by day his sweet voice soundeth, 
Saying, Christian, follow me! 


Jesus calls us from the worship 
Of the vain world’s golden store; 
From each idol that would keep us, 
Saying, Christian, love me more! 


In our joys and in our sorrows, 
Days of toil and hours of ease, 

Still he calls, in cares and pleasures, 
Christian, love me more than these! 


- Jesus calls us! by thy mercies, 


(5) 


Saviour, may we hear thy call; 

Give our hearts to thy obedience, 

Serve and love thee best of all! 
—Cecil F. Alexander. 


Curist’s QuestTion—Hymn,? Read by the Pastor 
or Leader. 

Hark, my soul! it is the Lord; 

Tis thy Saviour, hear his word; 

Jesus speaks, he speaks to thee: 

“Say, poor sinner, lov’st thou me? 


11f to be sung congregationally, the tune is “Jude.” 
2 Used by permission of Oliver Ditson Company, owners of the copyright. 
8 For singing, use a 7s tune, such as ‘‘Hendon,”’ 


250 APPENDIX 


“T delivered thee when bound, 

And, when bleeding, healed thy wound; 
Sought thee wandering, set thee right, 
Turned thy darkness into light. 


“Can a mother’s tender care 
Cease toward the child she bare? 
Yes, she may forgetful be, 

Yet will I remember thee. 


“Mine is an unchanging love, 
Higher than the heights above, 
Deeper than the depths beneath, 
Free and faithful, strong as death. 


“Thou shalt see my glory soon, 
When the work of faith is done; 
Partner of my throne shalt be: 
Say, poor sinner, ov’st thou me?” 
—William Cowper. 


(6) Hymn Response BY THE CONGREGATION (Fa- 
miliar tune): 


(Congregation remain seated) 


My Jesus, I love thee, I know thou art mine, 
For thee all the follies of sin I resign; 

My gracious Redeemer, my Saviour art thou, 
If ever I loved thee, my Jesus, ’tis now. 


I love thee because thou hast first loved me, 
And purchased my pardon on Calvary’s tree; 

I love thee for wearing the thorns on thy brow; 
lf ever I loved thee, my Jesus, ’tis now. 


APPENDIX 251 


I will love thee in life, I will love thee in death, 
And praise thee as long as thou lendest me breath; 
And say, when the death-dew lies cold on my brow, 
“If ever I loved thee, my Jesus, ’tis now.” 
—Anonymous. 


(7) OrcaN TuEme: ‘More Love to Thee, O Christ.” 
(A devotional moment, to be observed with 


bowed heads.) 


3. LovE ror Gop IN Curist SHouLD Maxke Us 
Love OnE ANOTHER 


(1) Hymn (To be read responsively) :! 
(Congregation standing) 


Leader or Pastor: 


Make channels for the streams of love, 
Where they may broadly run; 

And love has overflowing streams, 
To fill them everyone. 


Congregation: 
But if at any time we cease 
Such channels to provide, 
The very founts of love for us 


Will soon be parched and dried. 
All: 


For we must share, if we would keep, 
That blessing from above: 
Ceasing to give, we cease to have,— 
Such is the law of love. 
—Richard Chenevix Trench. 
(Continue standing) 





1Tune for singing, ‘‘Colchester.”’ 


252 APPENDIX 


(2) Leader or Pastor:1 


Our God is love; and all his saints 
His image bear below; 

The heart with love to God inspired, 
With love to man will glow. 


Congregation: 
Teach us to love each other, Lord, 


As we are loved by thee; 
None who are truly born of God 


Can live in enmity. 


Leader: 


Heirs of the same immortal bliss, 
Our hopes and fears the same, 

With bonds of love our hearts unite, 
With mutual love inflame. 


All: 


So may the unbelieving world 
See how true Christians love; 
And glorify our Saviour’s grace, 
And seek that grace to prove. 
—Thomas Cotterill. 


(Congregation be seated) 


(3) Cuorr Hymn (Tune, “Mount Calvary”): 


How sweet, how heavenly is the sight, 
When those who love the Lord 

In one another’s peace delight, 
And so fulfill his word! 


1Both these hymns are in Common Meter, and may be sung to the tune, 
“Siloam,” or other C. M. tunes, 


APPENDIX 253 


When each can feel his brother’s sigh, 
And with him bear a part! 

When sorrow flows from eye to eye, 
And joy from heart to heart. 


When, free from envy, scorn, and pride, 
Our wishes all above, 

Each can his brother’s failing hide, 
And show a brother’s love! 


Let love in one delightful stream 
Through every bosom flow, 

And union sweet, and dear esteem, 
In every action glow. ' 


Love is the golden chain that binds 
The happy souls above; 
And he’s an heir of heaven who finds 
His bosom glow with love. 
—Joseph Swain. 


(4) Hymnic AppREss AND EXHORTATION: 


(a) “Love Thyself Last.”—Anon. 
(American Hymnal, The Century Co., No. 514.) 
(b) Who Is Thy Neighbor?—William P. Peabody. 
(King’s Chapel Hymnal, Boston, No. 339.) 
(c) O Brother Man, Fold to Thy Heart. 
—John Greenleaf Whittier. 
(Century Hymnal, The Century Co., No. 279.) 


(5) CaLtL To PRAYER, BY THE Pastor or LEADER: 


Beloved, we have prayed that God would fill our 
hearts with the spirit of love, that we might love him 
as he has loved us. And now we have heard that 


954 APPENDIX 


through Christ Jesus our Father God calls us to love 
one another. Let us pray together that we may love 
one another as we love God and as God loves us. 


(6) PrayER Hymn! (To be read in unison by all): 


Try us, O God, and search the ground 
Of every sinful heart; 

Whate’er of sin in us is found, 
O bid it all depart! 


When to the right or left we stray, 
Leave us not comfortless; 

But guide our feet into the way 
Of everlasting peace. 


Help us to help each other, Lord, 
Each other’s cross to bear; 

Let each his friendly aid afford, 
And feel his brother’s care. 


Help us to build each other up, 
Our little stock improve; 
Increase our faith, confirm our hope, 
And perfect us in love. AmEn. 
—Charles Wesley. 


(7) OraAN ReEsponss, swelling into the hymn which 
follows, when let all stand and sing (Tune, ““Dennis”): 
Blest be the tie that binds 
Our hearts in Christian love; 
The fellowship of kindred minds 
Is like to that above. 





1 For Congregational Singing, Tune, “Serenity,” or other C. M. Tune. 


APPENDIX 255 


Before our Father’s throne, 
We pour our ardent prayers; 

Our fears, our hopes, our aims are one, 
Our comforts and our cares. 


We share our mutual woes, 
Our mutual burdens bear; 
And often for each other flows 

The sympathizing tear. 


When we asunder part, 
It gives us inward pain; 
But we shall still be joined in heart, 


And hope to meet again. 
—J. Faweett. 


D 
THE LIFE OF CHRIST 
1. Tort Prorpte PLEAD FoR CuHRIST TO ComME 


The People (Standing and reading together)!: 


O come, O come, Emmanuel, 
And ransom captive Israel; 

That mourns in lonely exile here, 
Until the Son of God appear. 


The Choir (Singing—Tune: ‘‘Veni Emmanuel’’—Chorus 
only) 
Rejoice! Rejoice! 
Emmanuel 
Shall come to thee, 
O Israel! 


The People (Reading): 


O come, thou Rod-of-Jesse, free 
Thine own from Satan’s tyranny; 
From depths of hell thy people save, 
And give them victory o’er the grave. 


The Choir (As before): 
The People: 


O come, thou Day-Spring, come and cheer 
Our spirits by thine advent here; 
Disperse the gloomy clouds of night, 

And death’s dark shadows put to flight. 


1 For singing, omit the chorus, ‘‘Rejoice,” etc., and use the tune ‘‘Doane.” 


256 





APPENDIX 257 


The Choir (As before) : 

The People: 
O come, thou Key-of-David, come, 
And open wide our heavenly home; 
Make safe the way that leads on high, 
And close the path to misery. 


The Choir (As before) : 

The People: 
O come, O come, thou Lord of Might, 
Who to thy tribes on Sinai’s height, 
In ancient times didst give the law, 
In cloud, and majesty, and awe. 


The Choir (As before): 


—Old Latin, tr. John Mason Neale. 
(Congregation remain standing) 


2, CHRIst COMES 
(a) Hymn, by the Choir (Tune, “‘Christmas Song’’): 


There’s a song in the air! 
There’s a star in the sky! 
There’s a mother’s deep prayer, 
And a baby’s low cry! 
And the star rains its fire while the beautiful sing, 
For the manger of Bethlehem cradles a King! 
—Josiah G. Holland. 


(6) Hymn, by the Congregation (Tune, “‘Antioch’’): 


Joy to the world! the Lord is come; 
Let earth receive her King; 

Let every heart prepare him room, 
And heaven and nature sing. 


258 APPENDIX 


Joy to the world! the Saviour reigns; 
Let men their songs employ; 

While fields and floods, rocks, hills, and plains 
Repeat the sounding joy. 


He rules the world with truth and grace, 
And makes the nations prove 
The glories of his righteousness, 
And wonders of his love. 
—Isaac Watts. 
(Congregation be seated) 


3. His BoyHoop 


Hymn Soto: “Ye Fair Green Hills of Galilee.” 
—Josiah Conder. 
(American Hymnal, The Century Co., No. 184) 


4. His TEMPTATION 
Hymn Reapinc: “Faint and Weary Jesus Stood.” 
—Walter C. Smith. 
(American Hymnal, The Century Co., No. 187) 


5. His MInIstry 


(Let the Congregation stand) 
Hymn, to be sung by the Congregation (Tune, 
“Denny’’): 
What grace, O Lord, and beauty shone 
Around thy steps below! 
What patient love was seen in all 
Thy life and death of woe! 


For, ever on thy burdened heart 
A weight of sorrow hung; 

Yet no ungentle, murmuring word 
Escaped thy silent tongue. 


APPENDIX 259 


Thy foes might hate, despise, revile, 
Thy friends unfaithful prove; 
Unwearied in forgiveness still, 
Thy heart could only love-—Edward Denny. 
(Congregation remain standing) 


6. His PREACHING 
BeatirupDEs (To be read by all in unison): 

Blessed are the poor in spirit: for theirs is the 
kingdom of heaven. 

Blessed are they that mourn: for they shall be 
comforted. 

Blessed are the meek: for they shall inherit the 
earth. 

Blessed are they which do hunger and thirst after 
righteousness: for they shall be filled. 

Blessed are the merciful: for they shall obtain 
mercy. 

Blessed are the pure in heart: for they shall see 
God. 

Blessed are the peacemakers: for they shall be 
called the children of God. 

Blessed are they which are persecuted for right- 
eousness’ sake: for theirs is the kingdom of heaven. 

(Congregation be seated) 


7. His Surrerine 
Hymn Orcan Tueme:! (As the organ plays let the 
congregation meditate upon the words which follow.) 
*Tis midnight; and on Olives’ brow 
The star is dimmed that lately shone: 
’Tis midnight; in the garden now, 
The suffering Saviour prays alone. 


11f sung, tune, ‘‘Olives’ Brow.” 


260 APPENDIX 


’Tis midnight; and from all removed, 
The Saviour wrestles lone with fears; 
E’en that disciple whom he loved 
Heeds not his Master’s grief and tears. 
—William B. Tappan. 


8. His DEATH 


(Congregation remain seated) 


(a) Hymn, to be sung by all (Tune, “Avon”): 


Behold the Saviour of mankind 
Nailed to the shameful tree! 
How vast the love that him inclined 


To bleed and die for thee! 


Hark, how he groans! while nature shakes, 
And earth’s strong pillars bend! 

The Temple’s veil in sunder breaks, 
The solid marbles rend. 


’Tis done! the precious ransom’s paid! 
“Receive my soul!” he cries; 

See where he bows his sacred head! 
He bows his head, and dies. 


—Samuel Wesley. 


(b) Hymn, to be sung by all, unaccompanied (Tune, 
Eucharist’): 


When I survey the wondrous cross 
On which the Prince of glory died, 
My richest gain I count but loss 
And pour contempt on all my pride. 
—Isaac Watts. 


APPENDIX 261 


9. His Trump 
“The third day he arose from the dead.” 


poLoste Allelulia iia. ie isi lcs. Charles Humphries 


Through the swung gates of the city, 
Outpours a rushing throng; 
On they crowd to Calvary; 
Heedless they swing along. 
And there, when shadows gather, 
Strange fears their lips confine, 
Mute is the cruel laughter, 
O tragedy divine! 


Allelulia, allelulia, 

Unheard the angels sing: 
Allelulia, allelulia, 

From death shall rise a King. 


Somber the gates of the city, 
Outshut a garden fair; 

And a tomb in silent pity 
Enholds a Sleeper there. 

And lo, as the flush of crimson 
Proclaims the Eastern morn, 

The stone rolls back unbidden, 
Forth steps the Christ new-born. 


Allelulia, allelulia, 

The vaults of Heav’n loud ring, 
Allelulia, allelulia, 

The world has a risen king. 


Through the swung gates of heav’n 
Outpours th’ angelic throng, 


1 Used by permission of Oliver Ditson Company, owners of the copyright. 


262 APPENDIX 


And now the new Jerusalem 
Triumphant rings with song. 

And the city, radiant, glorious, 
Needs neither sun nor stars, 

For the light of God victorious, 
Illumes with glowing bars. 


Allelulia, allelulia, 
Th’ angelic hosts loud sing, 
Allelulia, allelulia, 
The Christ is Eternal King. 
—F, M. Vincent. 


10. His AScENSION 


“He ascended into heaven, and sitteth at the right 
hand of God the Father Almighty.” 
(Congregation stand and sing) 


Hymn (Tune, “Miles Lane’’): 
All hail the power of Jesus’ name! 
Let angels prostrate fall; 
Bring forth the royal diadem, 
And crown him Lord of all. 


Let every kindred, every tribe 
On this terrestrial ball, 

To him all majesty ascribe, 
And crown him Lord of all. 


O that, with yonder sacred throng, 
We at his feet may fall! 
We'll join the everlasting song, 
And crown him Lord of all. 
—Edward Perronet. 
(Congregation remain standing) 


APPENDIX 263 


11. THe CuHristian’s PLEDGE 
Hymn (to be read in unison) :! 


Christ’s life our code, his cross our creed, 
Our common, glad confession be; 

Our deepest wants, our highest aims, 
Find their fulfillment, Lord, in thee. 


Thy life our code! in letters clear 
We read our duty, day by day, 
Thy footsteps tracing eagerly, 
Who art the truth, the life, the way. 


Thy cross our creed! thy boundless love 
A ransomed world at last shall laud, 
And crown thee their eternal King, 


O Lord of Glory! Lamb of God. 


—Benjamin Copeland. 
Orcan: “AMEN.” 


1Tf sung, tune, ‘‘Duke Street.” 





II 


CHORAL SERVICES OF MUSIC AND WORSHIP 
WITH CONGREGATIONAL PARTICIPA- 
TION—“CONGREGATIONALIZED” 
ORATORIOS AND CANTATAS 


A. Tue Lire or Curist (The ‘“‘Messiah,” 
Handel) 


B. AMERICA THE BeautiruL (“The Commemora- 
tion Ode,” Parker) 


C. Our Heaventy Home fe bems Holy Citve: 
Gaul) 


Nore:—The following are services based largely on 
well-known oratorios, cantatas, or similar works. 
Their purpose is to provide material for attractive 
special services of music and worship, to interest the 
people of a congregation in the nature and significance 
of standard musical works, and to inspire and spiritually 
impress those who participate. 

The correlation of congregational material, hymns, 
readings, prayers, etc., is calculated to keep the people 
interested in the service to the extent of actively per- 
sonally participating, and to give added significance 
to the special instrumental, choral and solo numbers 
which are thus related to each other and to the sub- 
ject of the service. 

The services must be thoroughly prepared, the choir 
adequately trained, competent soloists secured, capable 
players brought to the organ and the piano, and the 
leader must be thoroughly aware of the nature, pur- 
pose, and spirit of the service and the sequence of its 
parts. 

Above all else a thoroughly devout and reverent 
mood must be sought for, applause absolutely dis- 
couraged, and everything that is said or sung earnestly 
dedicated to the presentation of a genuine religious 
message. 

Carefully planned cooperation of minister and music 
director is absolutely essential, unless, perchance, one 
man takes charge of the entire service, directing the 
music and leading the service too. 

Of course orchestral accompaniment, if available, 
is a very great assistance, but great care must then 
be taken that the players know the sequence of the 
various numbers, and have the hymns arranged for 
them to play. 


A 
THE LIFE OF CHRIST 


> 


A “congregationalized oratorio,” embodying choral 
and solo extracts from the “Messiah,” the oratorio by 
George Frederick Handel. 


PARTICIPANTS 


The Choir 

The Congregation 
Soprano Soloist 
Contralto Soloist 
Tenor Soloist 

Organist 

Pianist 

Orchestra (if available) 


OVERTURE TO THE “Mussian’’. . George Frederick Handel 


: PROLOGUE 
Tenor Recitative: 
Comfort ye, comfort ye my people, saith your 
God; speak ye comfortably to Jerusalem; and cry 
unto her, that her warfare is accomplished, that 
her iniquity is pardoned. 
The voice of him that crieth in the wilderness, 
Prepare ye the way of the Lord, make straight 
in the desert a highway for our God. 


I. THe PropLeE PLEAD FoR A CHRIST TO CoME 
1. The People (standing and reading together): 


O come, O come, Emmanuel, 


And ransom captive Israel; 
267 


268 APPENDIX 


That mourns in lonely exile here, 
Until the Son of God appear. 
The Choir (Singing, Tune, Veni Emmanuel): 
Rejoice! Rejoice! 
Emmanuel 
Shall come to thee, 
O Israel! 


The People (Reading): 
O come, thou Rod-of-Jesse, free 
Thine own from Satan’s tyranny; 
From depths of hell thy people save, 
And give them victory o’er the grave. 
The Choir (As before): 
The People: 
O come, Thou Day-Spring, come and cheer 
Our spirits by thine advent here; 
Disperse the gloomy clouds of night, 
And death’s dark shadows put to flight. 
The Choir (As before): 
The People: 
O come, thou Key-of-David, come, 
And open wide our heavenly home; 
Make safe the way that leads on high 
And close the path to misery. 
The Choir (As before): 
The People: 
O come, O come, thou Lord of Might, 
Who to thy tribes on Sinai’s height 
In ancient times didst give the law, 
In cloud and majesty and awe. 
The Choir (As before). 
—Old Latin, tr. John Mason Neale. 
(Congregation seated) 


2. 


Or 


ie 


APPENDIX 269 


CHORUS: 
And the glory of the Lord shall be revealed, and 


all flesh shall see it together: for the mouth of the 


Lord hath spoken it. 


II. Curist ComEs 


. THE PasTtoRAL SYMPHONY FROM THE “MESSIAH”... 


Handel 


. SOPRANO RECITATIVES: 


There were shepherds abiding in the field, keep- 
ing watch over their flocks by night. 

And lo: the angel of the Lord came upon them, 
and the glory of the Lord shone round about them, 
and they were sore afraid. : 

And the angel said unto them, Fear not; for, 
behold, I bring you good tidings of great joy, which 
shall be to all people. 

_ For unto you is born this day in the city of David 
a Saviour, which is Christ the Lord. 

And suddenly there was with the angel a multi- 

tude of the heavenly host praising God, and saying: 


. CHORUS: 


Glory to God in the highest, and peace on earth, 
good will toward men. 


SopRANO AIR: 


Rejoice greatly, O daughter of Zion; Shout, O 
daughter of Jerusalem: behold, thy king cometh 
unto thee. 

He is the righteous Saviour, and he shall speak 
peace unto the heathen. 


270 APPENDIX 


7. Hymn BY THE CONGREGATION (Standing. Tune, 
*““Antioch”’!) : 
Joy to the world! the Lord is come; 
Let earth receive her King; 
Let every heart prepare him room, 
And heaven and nature sing. 


Joy to the world! the Saviour reigns; 
Let men their songs employ; 

While fields and floods, rocks, hills, and plains 
Repeat the sounding joy. 


He rules the world with truth and grace, 
And makes the nations prove 
The glories of his righteousness, 


And wonders of his love. 
—Isaac Watts. 


III. Lire anp Ministry 


8. Auto REcITATIVE: 

Then shall the eyes of the blind be opened, and 
the ears of the deaf unstopped; then shall the lame 
man leap as an hart, and the tongue of the dumb 
shall sing. 


9. Atto Arr: 

He shall feed his flock like a shepherd, and he 
shall gather the lambs with his arm, and carry them 
in his bosom, and gently lead those that are with 
young. 

10. Soprano Air: 

Come unto him, all ye that labor and are heavy 

laden, and he shall give you rest. 


1 Note: The tune of this hymn is an arrangement by Lowell Mason of the 
chorus music, ‘Glory to God in the Highest,” from ‘The Messiah.” 


APPENDIX 271 


Take his yoke upon you, and learn of him: for 
he is meek and lowly of heart: and ye shall find 
rest unto your souls. 

11. CHorvs: 

Behold the Lamb of God that taketh away the 

sins of the world. 


12. Hymn By THE CoNGREGATION (Standing. Tune, 
*‘Serenity’’): 
What grace, O Lord, and beauty shone 
Around thy steps below! 
What patient love was seen in all 
Thy life and death of woe! 


For, ever on thy burdened heart 
A weight of sorrow hung; 

Yet no ungentle, murmuring word 
Escaped thy silent tongue. 


Thy foes might hate, despise, revile, 
Thy friends unfaithful prove; 
Unwearied in forgiveness still, 


Thy heart could only love. 
—KEdward Denny. 


IV. His Preacuine 
13. BeatitupEs (To be read 1 in unison. Remain stand- 
ing): 

Blessed are the poor in We for theirs is the 
kingdom of heaven. 

Blessed are they that mourn: for they shall be com- 
forted. 

Blessed are the meek: for they shall inherit the 
earth. 

Blessed are they which do hunger and thirst after 
righteousness: for they shall be filled. 


242 APPENDIX 


Blessed are the merciful: for they shall obtain 
mercy. 

Blessed are the pure in heart: for they shall see God. 

Blessed are the peacemakers: for they shall be 
called the children of God. 

Blessed are they which are persecuted for right- 
eousness’ sake: for theirs is the kingdom of heaven. 

(Congregation seated) 


V. His SuFFrERING 


14. THEME FOR THE ORGAN: “Olives’ Brow.” (As the 
organ is played, let the congregation, with 
bowed heads, meditate upon the following 
words) : 

°Tis midnight; and on Olives’ brow 

The star is dimmed that lately shone: 
*Tis midnight; in the garden now, 

The suffering Saviour prays alone. 

15. Atto Arr: 

He was despised and rejected of men, a man of 
sorrows, and acquainted with grief. 

16. CHorus: 

Surely he hath borne our griefs, and carried our 
sorrows; he was wounded for our transgressions; he 
was bruised for our iniquities; the chastisement of 
our peace was upon him. 


VI. His Dratu 
(Remain seated) 
17. Hymn By THE ConGREGATION (Tune, “Avon’’): 
Behold, the Saviour of mankind 
Nailed to the shameful tree; 


How vast the love that him inclined 
To bleed and die for thee! ; 


APPENDIX 273 


18. READING: 

Leaver: All they that see him, laugh him to 
scorn, they shoot out their lips, and shake their 
heads, saying :— 

ConerecATION: “He trusted in God that he 
would deliver him; let him deliver him, if he de- 
light in him.” 


19. Tenor Recrrative AND AIR: 

Thy rebuke hath broken his heart; he is full of 
heaviness. He looked for some to have pity on him, 
but there was no man; neither found he any to 
comfort him. Behold, and see if there be any sor- 
row like unto his sorrow. 


VII. His Trrumpr 


“The third day he arose from the dead, he ascended 
into heaven, and sitteth at the right hand of God, 
the Father Almighty.” 


20. Hymn (To be read responsively, Congregation 


standing): 
Leader: 


He dies: the Friend of sinners dies: 
Lo! Salem’s daughters weep around; 
Congregation: 
A solemn darkness veils the skies, 
A sudden trembling shakes the ground. 
Leader: 
Here’s love and grief beyond degree: 
The Lord of Glory dies for man. 
Congregation: 
But lo: what sudden joys we see, 
Jesus, the dead, revives again! 


274 APPENDIX 


Leader: 
The rising God forsakes the tomb; 
In vain the tomb forbids his rise; 


Congregation: 
Cherubic legions guard him home 
And shout him welcome to the skies. 


Leader: 
Break off your tears, ye saints, and tell 
How high your great Deliverer reigns; 


Congregation: 
Sing how he spoiled the hosts of hell, 
And led the monster death in chains! 


Leader: 
Say, “Live forever, wondrous King. 
Born to redeem, and strong to save’; 


Congregation: 
Then ask the monster, ““Where’s thy sting?” 
And ‘“‘Where’s thy victory, boasting grave?”’ 
| —Isaac Watts. 
21. Fina CHORUS: 

HALLELUJAH! for the Lord God omnipotent 
reigneth. 

The kingdom of this world is become the kingdom 
of our Lord, and of his Christ; and he shall reign 
for ever and ever. 

KING OF KINGS, AND LORD OF LORDS. 
HALLELUJAH! 


8. Tur CHRISTIAN’S PLEDGE 


22. Hymn (To be read in unison): 


Christ’s life our code, his cross our creed, 
Our common, glad confession be; 


APPENDIX 275 


Our deepest wants, our highest alms, 
Find their fulfillment, Lord, in thee. 


Thy life our code! in letters clear 
We read our duty, day by day, 
Thy footsteps tracing eagerly, 
Who art the truth, the life, the way. 


Thy cross our creed! thy boundless love 
A ransomed world at last shall laud, 
And crown thee their eternal King, 


O Lord of Glory! Lamb of God. 
—Benjamin Copeland. 


23. BENEDICTION. 


Norr.—All Choral and Solo Music is from Handel’ S 
Oratorio, the “Messiah,”’ except the plain- -song response 
in the first part. This is sung to the last seven meas- 
ures of the tune “Veni Emmanuel.” 


B 
AMERICA, THE BEAUTIFUL 


A Patriotic Musical Service 


PARTICIPANTS 


The Choir 

The Congregation 
Soprano Soloist 
Organist 

Pianist 

Trumpeter 

Orchestra (if available) 


I. Our CountTRY 


1. Hymn: “O Beautiful for Spacious Skies.” (First 
OLE AV ALB ea ce vee eya nied Pac daN ware Aw ag Samuel A. Ward 


(To be sung by the Congregation, standing) 
Tune—‘‘Materna”’ 


O beautiful for spacious skies, 
For amber waves of grain, 
For purple mountain majesties 
Above the fruited plain! 
America! America! 
God shed his grace on thee, 
And crown thy good with brotherhood 
From sea to shining sea! 
—Katherine Lee Bates. 
(Congregation seated) 
276 


APPENDIX Q77 


2. PRAYER OF THANKSGIVING............... Kremeer 
Chorus Choir 


We gather together to ask the Lord’s blessing; 
He chastens and hastens his will to make known; 
The wicked oppressing cease them from distressing, 
Sing praises to his name—he forgets not his own. 


Beside us to guide us, our God with us joining, 
Ordaining, maintaining his kingdom divine, 

So from the beginning the fight we are winning; 
Thou, Lord, wast at our side—all glory be thine! 


We all do extol thee, thou leader in battle, 
And pray that thou still our Defender wilt be. 
Let thy congregation escape tribulation: 
Thy name be ever praised! O Lord, make us free! 
Lord, make us free! 


3. Prayer (To be read by the Congregation): 

O God of purity and peace, God of light and free- 
dom, God of comfort and joy, we thank thee for 
our country, this great land of hope, whose wide 
doors thou hast opened to so many millions that 
struggle with hardship and with hunger in the 
crowded Old World. 

We give thanks to the power that has made and 
preserved us a nation, that has carried our ship 
of state through storm and darkness and has given 
us a place of honor and power that we might bear 
aloft the standard of impartial liberty and impartial 
law. 

May our altars and our schools ever stand as 
pillars of welfare; may the broad land be filled with 
homes of intelligent and contented industry, that 


978 APPENDIX 


through the long generations our land may be a 
happy land and our country a power of good will 


among the nations. Amen. 
— Charles Gordon Ames. 


4.10 ERer, O COUNTRY... ob eae Eichberg 
Chorus Choir 


To thee, O country, great and free, 
With trusting hearts we cling; 

Our voices tuned by joyous love, 
Thy pow’r and praises sing, 

Upon thy mighty, faithful heart, 
We lay our burden down; 

Thou art the only friend who feels 
Their weight without a frown. 


For thee, we daily work and strive, 
To thee we give our love; 

For thee with fervor deep we pray 
To Him who dwells above, 

O God, protect our native land, 
Let Peace, its ruler be, 

And let her happy kingdom stretch 
From north to south-most sea. 


—Mrs. John Lane. 


Il. Our CountTRY’s SERVANTS 


5. Hymn (Third Stanza): 
(To be sung by the Congregation, standing) 
O beautiful for heroes proved 
In liberating strife, 
Who more than self their country loved, 
And mercy more than life! 


APPENDIX 279 


America! America! 
May God thy gold refine, 
Till all success be nobleness, 
And every gain divine! 
—Katharine Lee Bates. 


6. A. D. 1919. A CommeEmoraTIvE OpsE By 


BRIANCHLIOOKEH Ie ee ee Horatio Parker 


Chorus Choir, with Soprano Soloist 
and Trumpeter 


Ill 
“Hoitp Hicu tHE Torcn” 


7. Hymn: “O Beautiful for Spacious Skies” (Fourth 
SEANZH irae aaa ka, Samuel A. Ward 


(To be sung by the Congregation, standing) 


O beautiful for patriot dream 
That sees beyond the years 
Thine alabaster cities gleam, 
Undimmed by human tears! 
America! America! 
God shed his grace on thee, 
And crown thy good with brotherhood 
From sea to shining sea! 


8. Reapine (From Lincoln’s Gettysburg Speech): 
Leader: It is for us, the living, rather, to be dedi- 
cated, here, to the unfinished work that they have 
thus far so nobly carried on. 
Choir: It is, rather, for us to be here dedicated to 
the great task remaining before us; that from these 


280 APPENDIX 


honored dead we take increased devotion to that 
cause for which they gave the last full measure of 
devotion. 

All: That we here highly resolve that these dead 
shall not have died in vain; that this nation shall, 
under God, have a new birth of freedom, and that 
government of the people, by the people, for the 
people, shall not perish from the earth. 


9. IN FUANDERS FIELDScn cer cat eee Bartlett 


Soprano Soloist 


10. Haw! Tuovu Great Sone or Prace.. .Densmore 


Chorus Choir, with Trumpeter 


Hail! All hail! 
All hail! thou great song of peace 
_ Nations are singing! 
Out from the war-swept years, 
Up from the vale of tears, 
We hear it ringing, 
Joyous the clarion call! 
Oh! may the God of all 
Bless what it’s bringing. 


Home-coming battle flags 
Herald war’s ending; 

Honor to heroes slain! 

Welcome with loud acclaim 
Victors unbending. 

True to their country’s call! 

Oh! may the God of all 
Send grace commending! 


APPENDIX 281 


Hail! All hail! 

All hail! fruitful years of peace 
Spreading before us! 

Right has prevailed at last, 

Fighting and bloodshed passed. 
Truth will restore us! 

Love must man’s deeds forestall; 

Oh! may the God of all 


Point the way for us! 


All hail! All hail! 
—Clara Endicott Sears. 


11. MARSHALING oF Fiacs! 


12. SALUTE TO THE Fiac (By Congregation, Choir, 
et al.): 


“T pledge allegiance to my flag, and to the republic 
for which it stands, one nation, indivisible, with 
liberty and justice for all.’ 


13. THe StarR-SPANGLED BANNER (One stanza). 
14. BENEDICTION. 


15. Taps? 


1The flags are marshaled thus: Twelve girls, dressed in white, bearing the 
flags, march down the aisles of the church as the last stanza of “Hail, Thou 
Great Song of Peace” is sung. Turning to face the audience, they hold their 
flags there until the close of the service. 

2’Taps may simply be sounded by a trumpet or played on a suitable stop of 
the organ. Or the choral arrangement by A. F. M. Custance, with trumpet 
obligato, may be used (Oliver Ditson edition). 


C 
OUR HEAVENLY HOME 


(A “congregationalized”’ version of the cantata “The 
Holy City,” by Alfred R. Gaul. All solo, choral, and 


instrumental numbers are taken from the cantata.) 


PARTICIPANTS 
The Choir 
The Congregation 
Soprano Soloist 
Contralto Soloist 
Tenor Soloist 
Bass Soloist 
Organist 
Pianist 
Orchestra (if available). 


1, Pre.upe: Introduction to “The Holy City,” 
“Contemplation sieve. ane ee Gaul 


Organ, Organ and Piano, or Orchestra 


I. Man’s Desire ror THE HEAveNLtY Home 
2. CHORUS: 


No shadows yonder! 
All light and song! 
Each day I wonder, 
And say, “How long 
Shall time me sunder 
From that dear throng?” 
28% 


APPENDIX 283 


Solo—Tenor 


No weeping yonder! 
All fled away! 

While here I wander 
Each weary day, 

And sigh as I ponder 
My long, long stay. 


Quariet (Unaccompanied) 


No partings yonder! 
Time and space never 

Again shall sunder. 
Hearts cannot sever: 

Dearer and fonder, 
Hands clasp forever. 


Chorus 


None wanting yonder! 
Bought by the Lamb, 
All gathered under 
The ever-green palm; 
Loud as night’s thunder 
Ascends the glad psalm. 
—Horatius Bonar. 


3. Tenor Arr: 

My soul is athirst for God, yea, even for the liv- 
ing God; when shall I come to appear before the 
presence of God? 

My tears have been my meat day and night while 
they daily say unto me, Where is now thy God? 
(Psaic4222.53;) 

O bring me out of my trouble. (Psa. 25: 17.) 


284 APPENDIX 


4. Hymn (Congregation standing. Tune, “Materna,” 
Key of C Major): 
O mother dear, Jerusalem! 
When shall I come to thee? 
When shall my sorrows have an end? 
Thy joys when shall I see? 
O happy harbor of God’s saints! 
O sweet and pleasant soil! 
In thee no sorrow may be found, 
No grief, no care, no toil. 


No murky cloud o’ershadows thee, 
Nor gloom nor darksome night; 

But every soul shines as the sun; 
For God himself gives light. 

O my sweet home, Jerusalem, 
Thy joys when shall I see? 

The King that sitteth on thy throne 
In his felicity? 


Thy gardens and thy goodly walks 
Continually are green, 

Where grow such sweet and pleasant flowers 
As nowhere else are seen. 

Right through thy streets with silver sound, 
The living waters flow, 

And on the banks, on either side, 
The trees of life do grow. 


Those trees forevermore bear fruit, 
And evermore do spring: 

There evermore the angels are, 
And evermore do sing. 


APPENDIX 285 


Jerusalem, my happy home, 
Would God I were in thee! 
Would God my woes were at an end, 


Thy joys that I might see! 
—Author unknown. 


(Congregation remain standing) 


5. ResponsivE Hymn READING: 


Minister or Leader: 
On Jordan’s stormy banks I stand, 
And cast a wishful eye 
To Canaan’s fair and happy land, 
Where my possessions lie. 


The People: 
O the transporting, rapturous scene, 
That rises to my sight; 
Sweet fields arrayed in living green, 
And rivers of delight! 


The Leader: 
O’er all those wide-extended plains 
Shines one eternal day; 
There God the Son forever reigns, 
And scatters night away. 


The People: 
No chilling winds, or poisonous breath, 
Can reach that healthful shore; 
Sickness and sorrow, pain and death, 
Are felt and feared no more. 


The Leader: 
When shall I reach that happy place, 
And be forever blest? 
When shall I see my Father’s face, 
And in his bosom rest? 


286 APPENDIX 


The People: 
Filled with delight, my raptured soul 
Would here no longer stay: 
Though Jordan’s waves around me roll, 
Fearless P'd launch away. 
(Congregation be seated) 


6. CHORUS: 
Treble and Alto Voices 


For thee, O dear, dear country, 
Mine eyes their vigils keep; 
For very love, beholding 
Thy happy name, they weep. 
The mention of thy glory 
Is unction to the breast, 
And medicine in sickness, 
And love and life and rest. 


Tenor and Bass Voices 


O one, O only mansion! 
O Paradise of Joy! 

Where tears are ever banished, 
And smiles have no alloy; 
The Lamb is all thy splendor, 
The Crucified thy praise, 

His laud and benediction 
Thy ransomed people raise. 


Full Choir 


With jasper glow thy bulwarks, 
Thy streets with emeralds blaze, 
The sardius and the topaz 
Unite in thee their rays; 


APPENDIX 287 


Thine ageless walls are bonded 
With amethyst unpriced; 
The saints build up its fabric, 
And the corner-stone is Christ. 
—Tr. by John Mason Neale. 


7. CHORUS: 
Thine is the kingdom, for ever and ever. (Matt. 
6: 13.) 
I have looked for thee, that I might behold thy 
power and glory. (Psa. 63.) 


Il. Tur EntrRANcING BEAuTY OF THE HEAVENLY Home 


8. InTERMEzzO, “‘Adoration’’: 
Organ, Organ and Piano, or Orchestra 


9. CONTRALTO AIR: 


Eye hath not seen, ear hath not heard, neither 
have entered into the heart of man the things which 
God hath prepared for them that love him. (1 Cor. 
B20.) 

For he hath prepared for them a city, whose 
builder and maker is God. (Heb. 11: 10.) 

There remaineth, therefore, a rest for the people 
of God. 

Therefore, fear lest any come short of it. (Heb. 
4:9, 1.) 


10. Bass Arr AND CHORUS: 

And I heard a great voice out of heaven saying, 
Behold, the tabernacle of God is with men, and he 
will dwell with them, and they shall be his people, 
and God shall be with them, and be their God. 


288 APPENDIX 


And God shall wipe away all tears from their eyes; 
and there shall be no more death, neither sorrow, 
nor crying, nor any more pain; for the former things 
are passed away. (Rev. 21:3, 4.) 


Chorus 
Holy, holy, holy is the Lord of Hosts. 
Air 
I saw also the Lord sitting upon a throne, high 
and lifted up, and his train filled the temple. Above 
it stood the seraphims. And one cried unto another 


and said, Holy, holy, holy is the Lord of Hosts. 
(ish; Gul een3%) 


11. Hymn (Congregation standing. Tune, Ewing, Key 
of D Major): 


Jerusalem the golden, 

With milk and honey blest, 
Beneath thy contemplation 

Sink heart and voice oppressed: 
I know not, O I know not 

What social joys are there; 
What radiancy of glory, 

What light beyond compare. 


They stand, those halls of Zion, 
All jubilant with song, 
And bright with many an angel, 
And all the martyr throng; 
The Prince is ever in them, 
The daylight is serene; 
The pastures of the blesséd 
Are decked in glorious sheen. 


APPENDIX 289 


There is the throne of David; 
And there, from care released, 
The song of them that triumph, 
The shout of them that feast; 
And they who with their Leader 
Have conquered in the fight, 
Forever and forever 
Are clad in robes of white. 


O sweet and blesséd country, 
The home of God’s elect! 
O sweet and blesséd country 
That eager hearts expect! 
Jesus, in mercy bring us 
To that dear land of rest; 
Who art, with God the Father, 
And Spirit, ever blest. 
— Bernard of Cluny, tr. by John Mason Neale. 
(Congregation remain standing) 


III. Resmwents or tHE Heaventy Home 


12. Hymn (To be read): 
The Leader: 


Who are these arrayed in white, 
Brighter than the noonday sun, 
Foremost of the sons of light, 
Nearest the eternal throne? 
—From the Hymn by Charles Wesley. 
The People: 
The saints of God! Their conflict past, 
And life’s long battle won at last, 
No more they need the shield or sword, 
They cast them down before their Lord; 


290 APPENDIX 


O happy saints! forever blest, 
At Jesus’ feet how safe your rest! 


The saints of God! Their wanderings done, 
No more their weary course they run, 

No more they faint, no more they fall, 

No foes oppress, no fears appall: 

O happy saints! forever blest, 

In that dear home how sweet your rest! 


The saints of God! life’s voyage o'er, 

Safe landed on that blissful shore, 

No stormy tempests now they dread, 

No roaring billows lift their head: 

O happy saints! for ever blest, 

In that calm haven of your rest! 

—W. D. Maclagan. 

13. SOPRANO AIR: 

These are they which came out of great tribula- 
tion, and have washed their robes, and made them 
white in the blood of the Lamb. Therefore are they 
before the throne of God, and serve him day and 
night in his temple. (Rev. 7: 14, 15.) 

And they shall shine as the brightness of the 
firmament, and as the stars forever and ever. (Dan. 
12353) 

14. Soprano AND ContTRALTO DUET: 

They shall hunger no more; neither thirst any 
more; neither shall the sun light on them, nor any 
heat. And he that sitteth on the throne shall dwell 
among them. (Rev. 7:16, 17.) 

15. CHORUS: 
List! the cherubic host, in thousand choirs, 
Touch their immortal harps of golden wires, 


APPENDIX 291 


With those just spirits who wear victorious palms 
Singing everlastingly devout and holy psalms. 
—Multon. 


TV. Tue INVITATION TO ENTER THE HEAVENLY HoME 


16. Hymn (To be read by all, seated): 


Beyond the smiling and the weeping, 
I shall be soon; 

Beyond the waking and the sleeping, 

Beyond the sowing and the reaping, 
I shall be soon. 


Beyond the blooming and the fading, 
I shall be soon; 
Beyond the shining and the shading, 
Beyond the hoping and the dreading, 
I shall be soon. 
—Horatius Bonar. 
17. CoNTRALTO AIR: 

Then shall the King say, Come, ye blessed of my 
Father, inherit the kingdom prepared for you from 
the foundation of the world. (Matt. 25: 34.) 

For it is your Father’s good pleasure to give you 
the kingdom. (Luke 12: 32.) 


18. CLosinc CHORUS: 

Great and marvelous are thy works, Lord God. 
Almighty; just and true are thy ways, thou King 
of Saints! (Rev. 15:3.) 

To thee all angels cry aloud, the heavens and all 
the powers therein, to thee cherubim and seraphim 
continually do cry, Holy, holy, holy is the Lord 
of Hosts! (Te Deum.) 


292 APPENDIX 


Before the mountains were brought forth, or the 
earth and the world were made, thou art from ever- 
lasting. Alleluia! Amen. (Psa. 90: 2.) 


19. PRAYER AND BENEDICTION, by Pastor or Leader. 


It 


PROGRAMS AND SERVICES FOR 
FESTIVALS AND SPECIAL 
OCCASIONS 


A. Sunpay Scuoot Hymn Festivan Proaram, 
Wiru EXpositrion OF THE PIPE ORGAN. 


B. Sunpay ScHoon Hymn Festiva Procram, 
“LOYALTY TO CHRIST.” 


C. Sunpay ScHoot Hymn Ferstivat Proacram, 
“THe CHRISTIAN LIFE.” 


D. SHort FEstivAL SERVICE FOR CHOIR AND Con- 
GREGATION. 


E. Furi Festivan Service Witn CorrELATED 
STEREOPTICON SLIDES, “THe Music or Four 
GREAT Farrus.” 


F. “Tue ComiInGc oF THE KING,’ CHORAL CHRIST- 
MAS SERVICE WitH CORRELATED STEREOPTI- 
CON SLIDES. 


G. “THe Seven Last Worps or Curist,” VISUAL- 
1zED WITH STEREOPTICON SLIDES. A SERVICE 
FOR Goop FRIDAY. 


Notre.—The following services and programs were 
not arranged expressly for this work, but are pro- 
grams taken from the actual experience of the writer. 

They have proven attractive to the public, reverent, 
dignified, and impressive, and have afforded splendid 
means for utilizing the choirs of the church and church 
school. 

In presenting these, or similar services, every detail 
must be carefully worked out in advance, so that 
the services may proceed with precision and smooth- 
ness. Without exception a full printed libretto pro- 
gram should be placed in the hands of the congrega- 
tion. Otherwise the best results will not be obtained. 

Both choirs and congregation should be thoroughly 
prepared for the services, and too high standards of 
preparation cannot be established. 


A 


Hymn FestivAL PROGRAM ADAPTED FROM THE PRO- 
GRAM OF THE NORUMBEGA DISTRICT SUNDAY SCHOOL 
ASSOCIATION FESTIVAL, HELD IN ELLIoT CONGRE- 
GATIONAL Cuurcu, Newton, Massacuusetts, May 
6, 1923. 


1. Our-or-Doors PROCESSIONAL: 
“Onward, Christian Soldiers!”’.Sabine Baring-Gould 
slrmenero ur Gertrude. 2... ..<c. Arthur S. Sullivan 
Combined Sunday Schools, Led by Trumpeters 


2. PRELUDE IN THE CuuRcH. “CANZONETTA”’. Marshall — 
Organist 
3. Hymn (Praise to the Creator) : 


“For the Beauty of the Earth’”...F. S. Prerpont 
Relic Maliki eis ow. ine )2 Conrad,Kocher 


4. CaLu To Worsutr (Psalm 100, read responsively) : 
Leader: Make a joyful noise unto the Lord, all 
ye lands. 
People: Serve the Lord with gladness; 
Come before his presence with singing. 
Leader: Know ye that the Lord, he is God; 
It is he that hath made us, and not we 
ourselves; 
We are his people, and the sheep of his 
pasture. 
People: Enter into his gates with thanksgiving, 
And into his courts with praise; 


Be thankful unto him and bless his name. 
295 


296 APPENDIX 


Leader: For the Lord is good; his mercy is ever- 
lasting; 
And his truth endureth to all generations. 


5. Hymn (Paraphrase of Psalm 23): 


“The King of Love My Shepherd Is”. ... 
Henry W. Baker 
Tune, “Dominus Regit Me”...... John B. Dykes 


6. Prayer (To be read in unison): 


O God, before whose throne in heaven the saints, 
standing on the sea of glass, sing the song of Moses 
and the Lamb; grant us so to sing thy praises here 
with the spirit, and with the understanding also, that 
we may be counted worthy to learn the new song, 
which none can learn save those that shall be redeemed 
from the earth; through Jesus Christ our Lord. 

O God, our heavenly Father, make us ready now to 
worship thee in spirit and in truth. ‘Teach us to under- 
stand and love thy holy service and help us to be 
reverent and attentive, guarding us from all wan- 
dering thoughts and unseemly actions, and make all 
that we shall say and do acceptable unto thee; through 
Jesus Christ our Lord. 

O heavenly Father, cleanse our hearts and help us 
to worship thee in spirit and in truth. Keep our minds 
from idle and worldly thoughts, and grant that the 
prayers and praises of thy people may go up from 
thy holy temple on earth to thy mercy seat in heaven; 
through Jesus Christ our Lord. Amen. (Adapted 
from Service and Prayers, Thirkield, pp. 84, 85.) 


7. Response AFTER PRAYER, “‘Hear our Prayer, 


Oi Lord eine es Oe pee George Whelpton 
Combined Junior and Intermediate Choirs 


8. 


10. 


i 


12. 


13. 


14, 


APPENDIX 297 


Apprgss, “The Pipe Organ,” with Demonstration. 


(The construction and use of the organ. How 
an organ is made. The number of pipes, stops, 
etc. Comparison of the various stops with 
instruments of the symphony orchestra, sound- 
ing each stop in demonstration. The loudest 
and softest stops. The highest and lowest 
notes. Possibilities of crescendo and de- 
crescendo, etc.) 


. Hymn-ANTHEM: 


SOMWOrship tne WING) os... 9 Robert Grant 

EAN yd ORs Rope eee J. H. Maunder 
Combined Junior and Intermediate Choirs With 

Adult Mixed Double Quartet or Small Choir 


Hymn (Prayer for our country): 
iGouror Our Lathers: 21 4.4..06......D..C. Roberts 
Tune, “National Hymn”... ..George W. Warren 


Hymn—Dramatized (Concern for the Whole 
World): 

“Fling Out the Banner”....... George W. Doane 

Tune, “Doane” (or “Waltham’’) . John B. Calkins 


Hymn (Pledge of Allegiance to the Heavenly 
Father): 
“Lead On, O King Eternal”..Ernest W. Shurtleff 


Ne seancasnirey ez) acts pose 6° Henry Smart 


BENEDICTION. 
(After the Benediction let the Congregation be 
seated until the postlude has been played.) 


PosttupE—“March in D’’.......... Dudley Buck 


B 


Hymn FestivaL PRoGRAM ADAPTED FROM THE PRO- 
GRAM OF THE NoRUMBEGA District SUNDAY SCHOOL 
ASSOCIATION FESTIVAL, HELD IN ExLuior ConGRE- 
GATIONAL CuourcH, Newton, Massacuuserts, May 
14, 1922. 

1. PRELUDE: “Processional March”.......... Rouher 
ORGANIST 


OP INVOCATION : 26 ore, Cea eae Karl P. Harrington 
Combined Junior and Intermediate Choirs 
3. CaLL TO WorsuHiP, in hymn stanzas, to be read 
responsively: 


Leader: Come, ye that love the Lord, 
And let your joys be known; 
Join in a song with sweet accord, 
While ye surround his throne. 


People: O for a thousand tongues to sing 
My great Redeemer’s praise, 
The glories of my God and King, 
The triumph of his grace! 


Leader: Let those refuse to sing 
Who never knew our God, 
But servants of the heavenly King 
May speak their joys abroad. 


People: Shall hymns of grateful love 
Through heav’n’s high arches ring, 
And all the hosts above 
Their songs of triumph sing; 
And shall not we take up the strain, 


And send the echo back again? 
298 


APPENDIX 299 


Leader: Then let our songs abound, 
And every tear be dry; 
We’re marching through Emmanuel’s 
ground 
To fairer worlds on high. 


4, Hymn: 
“Come, Thou Almighty King’... .Charles Wesley 
Mines italian tymn .)... 22. Felice Giardini 
5. Untson Reapine (May be memorized): Peal 121. 


6. PRAYER. 


_ Orrertory AnTHEM: “Lord, Thy Children 
Guide andiecep! carly i...) J. H. Maunder 


8. Tur Hymn Messace: Theme, “Loyalty to Christ.” _ 


| 


a. Hymn: 
“Crown Him with Many Crowns’’..... 
Matthew Bridges 


Mines Diacemata, J. .%.)5 George J. Elvey 
b. Hymn: 
‘“Fairest Lord Jesus”....... Author Unknown 


Tune: ‘Crusaders’ Hymn’’.......... 
Arr. by Richard S. Willis 


c. Hymn: 
“In the Cross of Christ I Glory”’..John Bowring 
eines athDUnwr ci  c Ithamar Conkey 
d. Hymn: 
“My Faith Looks Up to Thee”... Ray Palmer 
Piece Olivet ae ware katate Lowell Mason 


9. Tue MessaGE IN Story: A story bearing on the 
general theme to be selected and told at this 
point in the service. 


300 APPENDIX 


10. CLrosinc Hymn: 
“Day Is Dying in the West”........... 
Mary A. Lathbury 
Tune, “Evening Praise’. ...William F. Sherwin 
11. BENEDICTION 
(After the Benediction let the Congregation be 
seated until the postlude has been played.) 


12. PostLupeE: “Let There Be Light”’......... Dubois 


C 


Hymn FestivAL PROGRAM ADAPTED FROM THE PRO- 
GRAM OF THE NoRUMBEGA District SUNDAY SCHOOL 
ASSOCIATION FESTIVAL, HELD IN ELLIot ConGRE- 
GATIONAL CuurcH, Newton, Massacuusetrts, May 
15, 1921. 


FePPRELUDE Organist. J oe Selected 


2, Catt TO WorRSHIP: 


Leader: O sing unto the Lord a new song, 
Sing unto the Lord, all the earth. 


People: Sing unto the Lord, bless his name; 
Show forth his salvation from day to 
day. 


Leader: Declare his glory among the heathen, 
His wonders among all people. 


People: For the Lord is great, and greatly to be 


praised. 
All: Honor AND MAJESTY ARE BEFORE HIM; 
STRENGTH AND BEAUTY ARE IN HIS 
SANCTUARY. 
3. Hymn: 
‘How Firm a Foundation’”’........ George Keith 


Tune, ‘Portuguese Hymn’’.. Composer Unknown 
4. PRAYER: 


5. RESPONSE TO PRAYER (First stanza of the hymn): 


“Nearer, My God, to Thee”... .Sarah F. Adams 
PETE ss DELDATIViem a eet eit eae Lowell Mason 


302 APPENDIX 


6. Antuem: “Lift up Your Heads, O Ye Gates” 
Knowlton 
Combined Junior and Intermediate Choirs 
7. Hymn Tueme: “The Christian Life.”’ 
(1) The Christian life means communion with 
God: 
Unison Reading: Psalm 121 (may be mem- 
orized). 
(2) The Christian life means loyalty to Christ: 


(a) Hymn-Anthem: 
“Jesus Calls Us O’er the Tu- 


mult”........Cecil F. Alexander. 
Anthem setting by... .F. F. Bullard 
(b) Hymn: 
“My Faith Looks Up to 
heer Arn sa Ray Palmer 
Tunes Olivet 3.3. Ue Lowell Mason 
Sc OFFERTORY=) ip Mielodies Ge woes eee Rousseau 


9. OFFERTORY SENTENCE: 
“All things come of thee, O Lord; 
And of thine own have we given thee.” 
Chant Tune: “Presentation of Alms’’.... 
Composer Unknown 


10. Hymn Tueme: “The Christian Life’ (continued). 


(1) The Christian life means aggressive work for 
the kingdom of God in the nation and 
in the world. 


(a) Hymn: 
“O Beautiful for Spacious 
rol is fos ee eae te Katherine Lee Bates 


Tune, “Materna’’. Samuel A. Ward 


a 


APPENDIX 303 


(b) (Dramatized) : 
“Fling Out the Banner’... .. 
George W. Doane 
Tune, “Doane” (or ‘Wal- 
Lat Nesom Babes ral Uae John B. Calkins 


(2) The Christian life means service to others: 
(a) Story, bearing on the theme of Chris- 
tian service, to be selected and 
told at this point in the service. 
(b) Hymn: 
“OQ Master Let Me Walk 
With Thee”..Washington Gladden 
Tune, “Maryton’. .H. Percy Smith 


11. BENEDICTION | 
(After the Benediction let the Congregation be 
seated until the postlude has been played.) 


Pe MURS TLD Rinne e tte dN Ny aece's Slee ee Selected 
Organist 


D 


SHortT FESTIVAL SERVICE For CHOIR AND 
CONGREGATION 


From the service-programs arranged by Professor H. 
Augustine Smith for the International Christian 
Endeavor Convention held at Des Moines, July 4 
to 9, 1923. Used by permission. 


THREE WAYS TO CHRIST 


I. Tue Way or GREEN PASTURES: 


1. Hymn (Pune; Bradbury.)2 eee 
William B. Bradbury 


Saviour, like a Shepherd lead us, 
Much we need thy tenderest care; 
In thy pleasant pastures feed us, 
For our use thy folds prepare: 
Blesséd Jesus, blesséd Jesus, 
Thou hast bought us, thine we are. 
—Author Unknown. 


2. Unison Psatm Reapine: Psalm 23, “The Lord 
Is My Shepherd.” 


3. Hymn (Second stanza): 


We are thine, do thou befriend us, 
Be the guardian of our way; 

Keep thy flock, from sin defend us, 
Seek us when we go astray; 

Blesséd Jesus, blesséd Jesus, 


Hear, oh hear us when we pray, 
304 


APPENDIX 305 


4. Antuem: “‘Listen to the Lambs’’. Nathaniel Dett 


If. Tue Way or THE WATER OF LIFE: 
1. Hymn (Tune, “Bread of Life’’)........ 
William F. Sherwin 


Break thou the bread of life, 
Dear Lord, to me, 

As thou didst break the loaves 
Beside the sea; 

Beyond the sacred page 
I seek thee, Lord; 

My spirit pants for thee, 

O living Word! 


Bless thou the truth, dear Lord, 
To me, to me, 
As thou didst bless the bread 
By Galilee; 
Then shall all bondage cease, 
All fetters fall; 
And I shall find my peace, 
My All-in-All. —Mary A. Lathbury. 


2. Unison READING: 

Ho, every one that thirsteth, come ye to 
the waters, and he that hath no money; 
come ye, buy, and eat; 

I am the bread of life. He that cometh 
to me shall never hunger; and he that be- 
lieveth on me shall never thirst. 

The Spirit and the bride say, Come. And 
let him that heareth say, Come. 

And let him that is athirst come. 

And whosoever will, let him take of the 
water of life freely. 


306 APPENDIX 


3. AnTHEM: “Ho, Every One That Thirst- 
raja ee Ai ge SiR rR ACC IY Macfarlane 


Ill. Tue Way oF THE Cross: 


1. Unison Reapinea, from Isaiah 53: 


He is despised, and rejected of men; a 
man of sorrows, and acquainted with griefs, 

Surely he hath borne our griefs, and car- 
ried our sorrows: 

He was wounded for our transgressions; 
he was bruised for our iniquities: the chas- 
tisement of our peace was upon him; and 
with his stripes we are healed. 

All we like sheep have gone astray; we have 
turned every one to his own way; and the 
Lord hath laid on him the iniquity of us all. 


2. INSTRUMENTAL THEME—“‘Calvary.” 


3. Antuem: “Fling Wide the Gates” (From 
‘Che: Crucifixion’) 2a, eee Stainer 


E 


Fuxtu Frestivat Service Wits CorreLATED 
STEREOPTICON SLIDES 


THE MUSIC OF FOUR GREAT FAITHS 


JEWISH, Russtan-GREEK, RoMAN, PRoTESTANT 


From the programs prepared by Professor H. Augus- 
tine Smith for use at Lake Chautauqua during the 
season of 1924. Used by permission. 


ROMAN (Latin Hymnody and Music): 
1. PRELUDE-EVOCATION IN THE SISTINE CHAPEL..Liset 
Founded on the “Miserere”............ Allegri: 
ANC SV CTUIM Hy 4. conn Mozart 


2. Eventnc Hymn (sung at a distance): “Ecce Jam 
Noctis Tenuatur Umbra.” 
Gregory the Great, Sixth Century (“Consola- 
tion’”’—Mendelssohn). 
Now, when the dusky shades of night, retreating 
Before the sun’s red banner, swiftly flee; 
Now, when the terrors of the dark are fleeting, 
O Lord, we lift our thankful hearts to thee— 


To thee, whose word, the fount of light unsealing, 
When hill and dale in thickest darkness lay, 
Awoke bright rays across the dim earth stealing, 

And bade the even and morn complete the day. 


Look from the tower of heaven, and send to cheer us 
Thy light and truth, to guide us onward still; 
still let thy mercy, as of old, be near us, 
And lead us safely to thy holy hill. 
307 


308 APPENDIX 


So when the morn of endless light is waking, 
And shades of evil from its splendors flee, 
Safe may we rise, the earth’s dark breast forsaking, 
Through all the long bright day to dwell with thee. 
3. ANTHEM-GLORIA Patri ET Finio....... Palestrina 
4, PROCESSIONAL OR ANTIPHONAL ANTHEM—‘‘Salve 
Festa Dies’’—Fortunatus, Fifth Century. Music 
by Homer N. Bartlett. 
5. CONGREGATIONAL SInGING—Otp Latin Hymns 
AND TUNES: 
Veni Emmanuel—“‘O come, O come, Emman- 
uel.” 
Adeste Fideles—“‘O come, all ye faithful.” 
Chorus in Latin—Venite adoramus, Dominum. 
O Quanta Qualia—“O what the joy and the 
glory.” 
6. INSTRUMENTAL—“AvE Marta’’...... Bach-Gounod 
7. LATIN SprriruaALs—Quartet or Chorus. 
Song of the Nuns of Coventry. 
Alla Trinita Beata. 
8. Bass Soto—Confutatus maledictis (from the 
vequiem Mass") ) 0525 i) 960 ae ee Verdi 
A Portion of the Dies Irae. 
9. SELECTIONS FROM THE “StaBatT MATER”... . Rossini 
Quartet and Chorus—“Stabat Mater Dolo- 
rosa.” 


Duet for Soprano and Contralto—‘Quis Est 
Homo.” 

Quartet—‘“Sancta Mater, Istud Agas.” 

Soprano Solo and Chorus—‘“Inflammatus.” 


10. GREGORIAN CHant—“Tonus PEREGRINUS.”’ 
Hymn Tune, “Hamburg,” from the First Gre- 


gorian Tone. 
Hymn Tune, ‘“‘Orientis Partibus.” 


_- 


309 


APPENDIX 


QOH —AUING IVHAWOAINT, 
Spo]IYGC—NOISNaOSy 
Uvuoy—AUING IVHAWOIST, 


310Q7—ABING IVHAWOAI, 


| UIOPOP[—ABING IWHAWOIT, 


| SMIOI9)\—AUINGY TVHdWOTd 7, 


‘SULY SNOeIs put poos noryy, 
‘oTYST]op Poos [Te ut OAK 

‘Suliq aM siaAvid 94} yWdav0y 
‘sosteid droy} ydeooe Ysprp noyy, 


‘osted oM ApOfour ING 
‘poyexe Ysiy Mou ‘v0q} OF, 
sosteid Jo sumAy tay} Sues Aoyy, 
‘uorssed AY} a10Jaq ‘9oq]} OT, 
‘9UQ pesso[g puwe sury oxy, 
*JSoulOD ouTeU S,plo'T 94} Ul OU AA 
‘uog [efor Splaeg noyy, 
‘[PBIS] JO SUL OY} Jae NOT, 


"yUssoid aM 9a} B1OJOg 
suloyjue pure toXeid pue osteid mo 
*}UIM Vo} aL0Jaq swayed YILAA 

SMOIQOIFT 9} Jo ajdood ayy, 
j SUL SeuuesOY JOOS ope], 
UoIp[IyD jo sdij oy} woyA OTF, 
‘SULY “IaWIapoyy ‘90q} OT, 
Jouoy pure ‘pney ‘A103 [TV 


funquay yyuryy ayp fo pouorssao01g fivpuny wg 


:(Sepl[s woor}doal9}9) GazrIVASIA SNWAP] NILW] GQUHY, ‘[T 


= 


APPENDIX 


310 


SLLION—NTVSOUTP JO CUGHATHS 


Spo]IYS—DNIDUNOIS AH, 
uueul 
-JOR—(eurmesy}e) ISINHD 4O avayyT 


Asoeyunyy—LsIuHy) 40 avayy 
Usy—OWOF]{ Ho00q 


pheiog—isiuHy 10 avayy 


JSIOYHOO| J—AUING IVHANAIAY, 


*30} 0} VAOT AUT 9ATTING 
JOAVU “T9AIU OU Jo] ‘PIO'T 

‘oq surqures |] prhoys puy 
jLoAOLOJ VUIT} OW OYVU O 

épue ynoyqya Ayid AY T, 
‘moLios SutAp AY} Sty} 107 

‘puolly JSorvep ‘9oqY} YULY} OF, 
MOIIOG [ [[BYys osensury yey AA 


j UIOUL SB JYUSIIG SBM BDO FOI AA 
‘YSMSU] VSVSTA JL} SIOP MOF 

‘UIOOS PUB ISNG BIOS ITAA 
‘ysmsue qa ofed noy} We MOF] 

SUMOID ATUO OUIT} ‘SULOY} ITA 
popuno.ins AT[NJUIOOS MON 

‘UMOP PoYsioM olMeYS PU JoLIs TIM 
‘popunom MOU ‘pBofFyT polovs O 


fiunquay yyuarayy ay fo uwhpFy uowsog 


| SULL SRUURSOY JOOMS IPR] 
UdIpyiqo jo sdij oy} WOYA OF, 

‘SUlY ‘IoWI0payzy ‘90Y} OT, 
rouoy pue ‘pney ‘A10[9 [TV 


311 


APPENDIX 


*(UIjeT Ul) soUR {SIP & 4B 
SQDIOA JO Jo}Q Aq Bung ‘fawy Aq . ‘SdoUUIG JO PUslIy ‘snsef,,—suT}JoG [BOISN] 
‘snun souoy snquy, 


YaHOTNdAS OL ONIOXY) SAUVIA :OyouRs mydids 
‘snoop OFS IY) OWING 
sqoolejaq]7—Ssouy) LV NIDUIA T1}Bq 09g sney US 


‘InuULeye{[oo Jadurag 


IZZNJO,J—VNNOGV]AL ‘UINSaf SOPUSPIA ‘}/] 
qoroqnog Tunjyn} vied 19} 
-uvuseq—dOHSIYO\, JO VNNOCV]AT ‘tavind Bijsoevig We} A 


‘gosod Byouno euog 


uasneyuspog—VvNNOGV]AL ‘gjjed eajsou vTePAy 
‘sI0000 USUI] Iojol gy 

jovydey—VNNOdV]N ANILSIS :SIa BOUTA 9ATOSG 
“eyiod 1,909 xIpaT 

Spo[IVS—NOILVIONONNY ‘osita Jodures onbyy 
‘eUl[® Ja}euUl 1aqy 

Joye F}H—NOLLVIONONNY “B][P]S SIIVUL “OAV 


hanquay yquany ayy oi uwhy fav yy urbir, passayg 


312 APPENDIX 


12. Prayer Hymn—VENI CREATOR SPIRITUS (Said or 
read silently): 


Come, Holy Ghost, our souls inspire, 
And lighten with celestial fire. 
Thou the anointing Spirit art, 
Who dost the sevenfold gifts impart. 


Thy blessed unction from above 
Is comfort, life, and fire of love. 
Enable with perpetual light 

The dullness of our blinded sight. 


Anoint and cheer our soiléd face 

With the abundance of thy grace, 
Keep far our foes, give peace at home; 
Where thou art guide, no ill can come. 


Teach us to know the Father, Son, 
And thee, of both, to be but One; 
That through the ages all along, 
This may be our endless song: 
PRAISE TO THE ETERNAL MERIT, 
FaTHER, Son, AND Hoty Spirit. 


13. SopRANO SoLo, CHorus AND VIOLIN OBLI- 
GATO—-AGNUS DEIin wt uc. eee Bizet 


14. CLosinc CONGREGATIONAL Hymn—Jesu, 
Dulcis Memoria of Eleventh Century— 
“Jesus, the Very Thought of Thee”’— 
SUNG tO} bie STIES | oe ca) ee ee Dykes 


15. CLrosinc BENEDICTION IN QUARTET: 
Antiphon 
Prayer 
Distant Chorus and Recessional 


APPENDIX 313 


Organ Postlude 
From “The Hora Novissima” of the 
Twelfth Century. 
Quartet—Hic Breve Vivitur (from ‘Hora 


ING VISSLINIE eee ee he ict tela 4) ue Pr al, Parker 
Antiphon—“For Thee, O Dear, Dear 

Country” (from ‘““The Holy City’’)...... Gaul 
Prayers— 


O sweet and blesséd country, 
The home of God’s elect. 
O sweet and blesséd country, 
That eager hearts expect! 
Jesus, in mercy bring us 
To that dear land of rest, 
Who art, with God the Father 
And Spirit, ever blest. 


Recessional and Distant Chorus—‘‘Jeru- 
SHIOTIY ALE COMMENT oo os: vee les wi tate oie oe Le Jeune 
Postlude—“‘Jerusalem the Golden,” with 
WV SEIS UI ON Seamer pen Recta her trey okie ads Sparks 


F 


“THE COMING OF THE KING” 


A Choral Christmas Service With Correlated Stereop- 
ticon Slides. Based on Handel’s Oratorio the 
*“Messiah.” 

Service prepared in cooperation with H. Augustine 
Smith. As presented at Centenary Methodist Epis- 
copal Church, Auburndale, Christmas, 1921. 


Part I 
Prophecy of the Coming of Christ 


1. OVERTURE TO THE “Mrssian”.......0.... Handel 
Organ 

. Tenor Recitative: “Comfort Ye My People.” 

. Tenor Air: “Every Valley Shall Be Exalted.” 

. Cnorus: “And the Glory of the Lord.” 

. Bass Recitative: “Thus Saith the Lord.” 

. Bass Arr: “But Who May Abide the Day of His 

Coming.” 

7. Auto Recrrative: “Behold, a Virgin Shall Con- 
ceive.” 

8. Atro Air anpD CHorus: “O Thou That Tellest — 
Good Tidings.” 

9. Bass Recrrative: “For Behold, Darkness Shall 
Cover the Earth.” 


10. PrRayrr, by the Pastor or Leader. 
314 


oS CO eB OO 2% 


APPENDIX 315 


Part II 


The Prophecy Fulfilled 


(As the last part of the Pastoral Symphony is played 
let the lights be gradually lowered, and as the first 
recitative is begun let the first picture be immediately 
thrown on the screen. Care must be taken to afford 
the choir and accompanist good light without spoil- 
ing the pictures on the screen. The operator of the 
stereopticon must have a carefully marked vocal score 
before him, and must quickly and quietly change the 
pictures on the screen to accord with the music.) 


11. PastorRaL SYMPHONY. 


12. Soprano Recitative: “There Were Shepherds © 
Abiding in the Field.” 
Picture: “Star of Bethlehem,” Taylor. 


13. Soprano Recrrative: “And lo, the Angel of the 
Lord.” 
Picture: “Angel Appearing to the Shepherds,” 
Copping. 


14. Soprano Recitative: “And the Angel Said Unto 
Them.” 
Pictures: ““The Angel and the Shepherds,” 
Hole. 
“The Angel and the Shepherds,” 
Beale. 
“Holy Night,” Correggio. 


15. Soprano Recitative: “And Suddenly There Was 
With the Angel.” 
Picture: ““Angels Appearing to the Shepherds,” 
Plockhorst. 


316 


APPENDIX 


16. Cuorus: “Glory to God in the Highest.” 


Pictures: 


“Song of the Angels,” Anon. 

“Ye Shall Find Me When Ye Seek 
Me,” Pauwels. 

“Song of the Angels,” Moran. 

“Where Two or Three Are Gathered 
Together,” Hole. 

“Angels in Dante’s Paradise,” Anon. 


“Christmas Bells,” Blashfield. 


17. Soprano Arr: “Rejoice Greatly, O Daughter of 


Zion.” 
Pictures: 


Solo. 


During Prelude, Word Slide of the 


“Isaiah,” from the “Frieze of the 
Prophets,” Sargent. 

“Hosea,” from the “Frieze of the 
Prophets,” Sargent. 

“The Promise of the Future,” 
Zmurko. 

“The Triumphal Entry,” Doré. 

Detail, “Christ Before Pilate,’ Mun- 
kaesy. 

“The Hope of the World,” Copping. 

“Christmas Bells,’’ Hole. 

“The Triumphal Entry,” Hole. 

“Song of the Angels,” Anon. 


18. Cuorus: “For Unto Us a Child Is Born.” 


Pictures: 


During Prelude, Word Slide of the 
Chorus. 

Then successive pictures of the Na- 
tivity by different artists. 





OO ea 


APPENDIX 317 


19. Auto Recirative: ‘Then Shall the Eyes of the 
Blind Be Opened.” 


Picture: “Healing Blind Bartimaeus,” Cop- 


ping. 
29. Auro Arta: “He Shall Feed His Flock Like a 
Shepherd.”’ 


Pictures: During Prelude, Word Slide of this, 
and the following airs. 
“The Good Shepherd,” Plockhorst. 
“The Good Shepherd,” Dobson. 
“The Door of the Fold,” Parker. 
“The Lost Sheep,” Soord. 


21. Soprano Arr: “Come Unto Him, All Ye That 
Labor and Are Heavy Laden.” : 
Pictures: “‘Faith,” Armitage. 
“Christ and the Fishermen,” Zvm- 
mermann. 
“And They Shall Follow Him,” 
Wehle. 
“The Great Invitation,” Copping. 
(Here let the lights be turned on once again, but 
not too suddenly.) 


99. Cuorus: “Hallelujah! For the Lord God Omnip- 
otent Reigneth.” | 


23, BENEDICTION. 


Vil 
“THE SEVEN LAST WORDS OF CHRIST” 


THEODORE DvuBoIs 


A Cantata For Good Friday, With Correlated 
Stereopticon Slides. Picture Correlation by H. Au- 
gustine Smith. 

Note:—The pictures may either be correlated as 
here with alternate numbers of the cantata, those 
between being sung without pictures, or fewer slides 
may be used for each word and the subjects given 
can be extended to visualize the entire work. The 
writer has used both methods with entire satisfaction. 


THe First Worp: 


. “Ecce Homo,” Reni. 
. “Let Him Be Crucified,” Tissot. 
. “Christ Bearing the Cross,” Beraud. 
. “Christ Bearing the Cross,” Tiepolo. 
. “And When They Were Come,” Mastroianni. 
. “Christ Between Two Thieves,” Rubens. 
“The Crucifixion,” Tintoretto. 
. “Christ in Gethsemane” (The head only), Hof- 
7 mann. 
9. “The Crucifixion,” Munkdesy. 
10. “Christ on the Cross and the Three Marys” 
(Detail of the preceding picture), M unkdesy. 


Cat o> Ot HB CO 7 


THe Turrp Worp: 


1. “Mater Dolorosa,” Bouguereau. 


2. ‘Virgin at the Foot of the Cross,” Delaroche. 
318 


APPENDIX 319 


. “St. John and the Virgin Mary,” Plockhorst. 
“Marys at the Foot of the Cross,’ Bouguereau. 
“The Crucifixion” (Stabat Mater), Lazerges. 

. “Mater Dolorosa,” Delaroche. 

“At the Foot of the Cross,” Aubert. 

. “Mater Dolorosa,” Rent. 


CO 3 D Or BS OO 


Tue Firra Worn: 


. “The Crucifixion,” Van Dyck. 

. “The Crucifixion,” Robustz. 

. “The Crucifixion,” de Champaigne. 
“The Crucifixion,” Hofmann. 
“The World’s Ingratitude,” Burton. 
“The Penitent Thief,” 7ssot. 
“The Crucifixion,” Delacroix. 

. “The Crucifixion,”’ Hole. 

. “Eece Homo,” Beraud. 

10. “The Crucifixion,” Linson. 

11. “The Crucifixion,” Carriére. 

12. “The Crucifixion,” Burne-Jones. 
13. “The Crucifixion,” Bulleid. 

14. “The Crucifixion,” Velasquez. 


OC ED OB OO WO 


THe SEVENTH Worp: 


. “It Is Finished,” Mastroianni. 

. “Christ on the Cross,” Rubens. 

. “Return From Calvary,” Smaliz. 
“Golgotha,” Géréme. 

“The Crucifixion,” Duran. 

“Job’s Flocks Destroyed,” Gilbert. 
“The Night of the Crucifixion,”’ Doré. 
. “Descent From the Cross,’ Béraud. 
“Descent From the Cross,” Aubert. 


( CO WR OT SP oO WH 


320 APPENDIX 


10. “Entombment,” Piglhein. 

11. “Christ Appearing to Mary,” Hole. 
12. “Christ and the Holy Women,”’ Golz. 
13. “Jesus at Emmaus,” L’ Hermite. 

14. “The Ascension,” Von Uhde. 





Gots aw © Oop 


IV 


BIBLIOGRAPHY 
ART. 


. Mvsic. 

. Music 1n RELIGION AND WoRSHIP. 

. HyMNOLoGY. 

. CHorrk AND CHORAL DIRECTING. 

. ORGANIZING AND TRAINING CHILDREN’S CHOIRS. 


. ORCHESTRAS AND BANDS. 


BIBLIOGRAPHY 


Note:—This list is practical rather than exhaustive. 
It is arranged with a view to recommending inclusions 
in the average library of the minister, church musi- 
clan, or interested layman. 


ART 


Art, Clive Bell. Frederick A. Stokes Company, 
New York City. 

Art and Religion, Von Ogden Vogt. Yale Univer- 
sity Press, New Haven, Conn. 


Music 


History of Music, W. S. Pratt. G. Schirmer Co., 
New York City. 

How to Listen to Music, H. E. Krehbiel. Charles 
Scribner’s Sons, New York City. 

Music and Musicians, Albert Lavignac. Henry 
Holt & Company, New York City. 

The History of American Music, L. C. Elson. The 
Macmillan Company, New York City. 

What is Good Music? W. J. Henderson. Charles 
Scribner’s Sons, New York City. 


Mosic IN RELIGION AND WoRsHIP 


Excursions in Musical History, Helen and Clarence 
Dickinson. Duffield & Company, New York City. 

Music in the History of the Western Church, Edward 
Dickinson. Charles Scribner’s Sons, New York. 
City. 

Musical Ministries in the Church, W.S. Pratt. Flem- 


ing H. Revell Company, New York City. 
322 





APPENDIX $23 


Practical Church Music, E.'S. Lorenz. Fleming H. 
Revell Company, New York City. 

Studies in Worship Music (Two Vols.), J. Spencer 
Curwen. J. Curwen & Sons, London. 


HyYMNOLOGY 


Dictionary of Hymnology, John J. Julian. John 
Murray Co., London. 

Hymn Treasures, Amos Wells. John C. Winston 
Company, Philadelphia. 

Some Hymns and Hymn Writers, W. B. Bodine. 

The English Hymn, Its Development and Use, Louis 
F. Benson. Hodder and Stoughton, New York 
City. } 

The History and Use of Hymns and Hymn Tunes, 
David R. Breed. Fleming H. Revell Company, 
New York City. 

The Hymns and Hymn Writers of the Church, Charles 

-§S. Nutter and Wilbur F. Tillett. The Methodist 
Book Concern, New York City. 

The Story of the American Hymn, E. S. Ninde. The 
Abingdon Press, New York City. 


CHOIR AND CHORAL DIRECTING 


Choir and Chorus Conducting, F. W. Wodell. ‘Theo- 
dore Presser, Philadelphia. 

Choral Technique and Interpretation, Henry Coward. 
H. W. Gray Company, New York City. 

Essentials in Conducting, Karl W. Gehrkens. Oliver 
Ditson Co., Boston. 

The Technique of the Baton, A. Stoessel. Carl Fisher, 
New York City. 


324 APPENDIX 


ORGANIZING AND TRAINING CHILDREN’S CHOIRS 


Practical Hints on the Training of Choir Boys, G. E. 
Stubbs. H. W. Gray Company, New York City. 

The Child-Voice in Singing, F. E. Howard. H. W. 
Gray Company, New York City. 

The Use of a Children’s Choir in the Church, Eliza- 
beth Van Fleet Vosseler. H. W. Gray Company, 
New York City. 

Voice Culture for Children (Two Vols.), James Bates. 
H. W. Gray Company, New York City. 


ORCHESTRAS AND BANDS 


Public School Orchestras and Bands, Glenn H. Woods. 
Oliver Ditson Co., Boston. 


ne 
ene i 


“i 
Boe yd 
ie LA 


5 
es 


7a caper, 
t De tts 
Sanit aw ee 
Wecaon \ 
ip we 


>y 


aay 
ae 
wi 


wri 


ba 
abc} 


WE) 























